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Entrails umfasst den Death Metal-Sound der frühen 90er Jahre in einem absolut kriminellen Ausmaß!

Dieses Album hat den klassischen schwedischen Stil des Death Metal der frühen 90er Jahre. Es ist sehr stark an die alten Entombed und Dismember angelehnt, aber sie haben ihren eigenen Sound. Die Riffs sind frisch und tödlich, ebenso wie die Energie, die diese Veröffentlichung umgibt.

Das musikalische Können ist unübertrefflich und es ist großartig, dass der schwedische Death Metal-Sound in Bands wie Entrails lebendig geblieben ist. Die Musik ist geradezu brutal, der Gesang und die Gitarrenriffs sind explosiv. Wir würden es wagen zu sagen, dass dies eine Top-Veröffentlichung für das Jahr 2011 ist.

Für eine Band, die fast 20 Jahre lang im Dornröschenschlaf lag, sind sie ziemlich stark zurückgekommen und haben einige der Wurzeln des alten Landes mitgebracht. Ist dieser Sound bereits nahezu perfekt umgesetzt worden? Ja, aber man könnte Entrails eine kleine Gnadenfrist gewähren, denn im Ernst, sie sind einfach wahnsinnig schwer und schrecklich brutal von Anfang bis Ende. Man kann sehen, wo Bands wie Bloodbath diesen elitären Sound gefunden haben. Die Produktion ist von erstklassiger Qualität und jede Note wird entsprechend geschreddert. Diese Jungs kennen ihren Death Metal.

Und dies trifft 100% zu: kunstvoll vereinen BATTLE AXIS Thrash-Einflüsse mit starkem Power-Metal. Teils Doom-lastige Schwere und rockige Elemente. Wagemutig, atmosphärisch, teutonisch, BATTLE AXIS!

Er gründete die Band im Oktober 1982 gemeinsam mit Schlagzeuger Vinny Appice, nachdem beide ihre Band Black Sabbath verlassen hatten. Ergänzt wurde die Band durch den irischen Gitarristen Vivian Campbell (Sweet Savage) und Bassist Jimmy Bain (Rainbow, Wild Horses). Im Mai 2010 verstarb Ronnie James Dio. Dies war der Grund für die Auflösung der Band. 1994 war für DIO eines der erfolgreichsten Live-Jahre. Am 10.Juli 1994 absolvierte die Band ein grandioses Konzert in den USA, welches vom US-Radiosender FSW-5 mitgeschnitten und nun freigegeben wurde. Diese strikt limitierte
Schallplatte enthält alle großen Hits und Alltime-Klassiker der US-Rock-Gruppe und kann als zeitliches Dokument angesehen werden.

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"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

First exposed to the sounds of Samba and Bossa Nova while
touring South America with Dizzie Gillespie in 1956, Jones recalls
hearing Gillespie sitting-in with a Samba combo at Rio's Gloria
Hotel and how he was fascinated by the thrilling fusion of Jazz and
Samba. Some years later in 1962, he took a stellar big band into
NYC's A&R Studios to record the Big Band Bossa Nova album. It
was the culmination of a dream for Jones, who had never
forgotten the musical experiences he had encountered in Brazil.

“Sounds Like Freedom” is the second release from LA-based record label, Domanda Music. It was recorded in September 2021 in Verona, Italy and conceived by bass player Rosa Brunello with notable contributions from UK Jazz star Yazz Ahmed, Arabic experimental music pioneer Maurice Louca and Italian drumming sensation Marco Frattini. Each track is the result of spontaneous improvisations, which have been lovingly post-produced by Rosa Brunello herself and label founder Tommaso Cappellato.
Rosa Brunello is an Italian bass player and composer whose skills range from free radical improvisations to electric rock, dub and modern mainstream. She loves to blend acoustic and electronic sounds in order to challenge the boundaries between genres and live up to her motto of music without borders.

The “Tumult Hands” duet is made by Jacek Sienkiewicz and Jerzy Przezdziecki - the producers
whose composition has - to a large extent- defined the Polish techno music. Sienkiewicz - as
early as Recognition - started his adventure with music in the late 1990s. Subsequent records,
already under his own name, were released, among others, at Cocoon Records, Trapez, Klang
Elektronik and WMFRec. Przezdziecki started publishing a little later. Over the last two
decades, he has been presenting various types of electronic music, among others, as Praecox,
Epi Centrum and Jurek Przezdziecki.
“Tumult Hands” has two EPs on its account – “Tumult Hands EP” (2014) and “Tropic
Factory” (2016). Both were published by Recognition. So a full record was a matter of time.
The album titled: “TH” (Recognition, 2022) has been prepared for many years. The repertoire
was created mainly out of improvisation. As artists themselves say, “it is the result of
discovering and accepting a chance event.” For both producers, close contact with
instruments was important during their composition; the type of interaction between the maker
and an electronic device. Individual works have been maturing for a long time. Paradoxically -
the lapse of time did not cause them to be ageing but vice versa - allowed them to mature and
gain natural weight.
“TH” brings very diverse music. In part, it is the repayment of the debt that Sienkiewicz and
Przezdziecki incurred towards the most creative techno period, that is, the 90s of the 20th
century. The lovers of experimental dance music from before the quarter of the century will
easily capture in the duet’s themes the art of Cristian Vogel, producers known from the tin
series of Chain Reaction record company or early recordings of Richie Hawtin (Plastikman,
F.U.S.E.). This is a very similar, non-standard approach to sound structure and an original
approach to rhythmic structures. Minimalist melodies, accompanying e.g. the opening of the
“enter TH” or “pow” set, contribute to the composition an element of some sublimity and
metaphysical anxiety. Obviously, it is still the dance music but the duet - to some extent by
abandoning the club functionality (understood in the techno convention) - has given its music
a definitely sophisticated, artistic elegance.
Publishing cooperation between such important makers, as well as high quality of recordings,
leads us to see “TH” as something more than just another techno record. It is an event and an
electronic adventure that all lovers looking for dance music will appreciate.

"Catch me in the corner not speakin'/Crushed out heavenly/ U.G. rock the sweet daddy long fox minks/Chicken and broccoli, Wally's look stink"

Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like Daytona 500 featuring Raekwon and Cappadonna to soulful emotionally moving cuts like All That I Got Is You with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both ‘Blue & Cream’ and ‘Chicken & Broccoli’ half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a ‘shoebox’-style 2nd outer jacket embossed with the year 1996.

Very Limited yellow vinyl LP. By popular demand, we are proud to present Ekundayo Inversions (Instrumentals). Liam Bailey released his debut album Ekundayo on the label at the end of 2020, then in the Summer of 2021 El Michels Affair took the tapes from that and did a dub version of the album in his own style aptly titled Ekundayo Inversions. Both of these releases quickly became cult classics in their own right. The chemistry between Liam and producer Leon Michels is undeniable, each pushing the other to new places in their sounds. Here we take the vocals out of the mix and focus on the production and the players pulling instrumentals versions from both the Ekundayo album and the Ekundayo Inversions album. This is a limited one time pressing of 1000 pieces.

Reissue in Opaque Purple Vinyl

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

Oh wow! Die Zeit ist wieder gekommen, den Piratenhut aufzusetzen und die Gummienten aufzublasen,
denn die weltberühmte Pirate Metal Drinking Crew ALESTORM setzt mit ihrem siebten Studioalbum
Seventh Rum of a Seventh Rum die Segel und begibt sich erneut auf hohe See! Produziert von ihrem
langjährigen Mitstreiter Lasse Lammert, wird dieses epische Abenteuer am 24. Juni 2022 über Napalm
Records veröffentlicht.
Wieder einmal wird die Band von einer ganzen Reihe von Gastmusikern unterstützt, darunter die Drehleier
von Patty Gurdy, der Gesang von Captain Yarrface von Rumahoy, das Geigenspiel von Ally Storch von
Subway To Sally, majestätische Chöre von Hellscore, sowie einige bekannte spanische und japanische Sängerinnen und Sänger im letzten Teil der „Wooden Leg“ Saga. Am wichtigsten ist aber eine absolute
Weltpremiere: Auf dem Album wird zum ersten Mal ein Spiegelei als Instrument in einem Metal-Song verwendet – gekonnt gespielt von Matt Cockram. Aber damit nicht genug! Als besonderen Leckerbissen für
eingefleischte Sammler enthalten einige Sondereditionen eine vollständige akustische Version des gesamten
Albums, und es gibt sogar noch einmal eine legendäre Version des Albums FÜR HUNDE!
Worauf also noch warten? Mach sieben Flaschen mit altem Rum auf und mach dich bereit für die musikalische Reise deines Lebens!

Der 23-jährige Londoner David Omoregie ist ein Ausnahmetalent. Unter dem Künstlernamen Dave legt
sich der britische Rapper in seinen Songs mit Premierminister:innen an, spricht über Rassismus, soziale Ungleichheit und das nicht universelle Erleben von Schwarzsein. Heute erscheint sein zweites Album ”We‘re
All Alone In This Together”, das laut der englischen GQ ”meist erwartete britische Rap-Nachfolgealbum
aller Zeiten”.
Das Cover zu ”We´re All Alone In This Together” ist eine Neuinterpretation von Claude Monets ”Impression, Soleil Levant”, ein Ölgemälde des französischen Malers aus dem Jahr 1872, das sich als namensgebend
für die Bewegung des Impressionismus herausstellen sollte. Auf den Albumtitel ”We´re All Alone In This
Together” brachte ihn der deutsche Filmkomponist Hans Zimmer während eines gemeinsamen Videochats.
Beide steuerten im letzten Jahr die Musik für eine Episode von Sir David Attenboroughs ”Planet Earth”
bei. Natürlich bezieht sich der Titel auch auf die vergangenen anderthalb Jahre während der Pandemie.
Musikalisch ist ”We´re All Alone In This Together” abwechslungsreich in Tempo und Inhalt, so rappt
Dave beschwingt mit Stormzy auf der ersten Single Auskoppelung ”Clash” über Konsum und was dieser
mit einem anstellt, holt sich für seinen nächsten Sommer Hit WizKid ins Boot. Weitere Features wie James
Blake, Boj & Snool Aalegra dürften auch nicht enttäuschen.
”We´re All Alone In This Together” könnte das wichtigste britische Musikalbum des Jahres werden.

Der 23-jährige Londoner David Omoregie ist ein Ausnahmetalent. Unter dem Künstlernamen Dave legt
sich der britische Rapper in seinen Songs mit Premierminister:innen an, spricht über Rassismus, soziale Ungleichheit und das nicht universelle Erleben von Schwarzsein. Heute erscheint sein zweites Album ”We‘re
All Alone In This Together”, das laut der englischen GQ ”meist erwartete britische Rap-Nachfolgealbum
aller Zeiten”.
Das Cover zu ”We´re All Alone In This Together” ist eine Neuinterpretation von Claude Monets ”Impression, Soleil Levant”, ein Ölgemälde des französischen Malers aus dem Jahr 1872, das sich als namensgebend
für die Bewegung des Impressionismus herausstellen sollte. Auf den Albumtitel ”We´re All Alone In This
Together” brachte ihn der deutsche Filmkomponist Hans Zimmer während eines gemeinsamen Videochats.
Beide steuerten im letzten Jahr die Musik für eine Episode von Sir David Attenboroughs ”Planet Earth”
bei. Natürlich bezieht sich der Titel auch auf die vergangenen anderthalb Jahre während der Pandemie.
Musikalisch ist ”We´re All Alone In This Together” abwechslungsreich in Tempo und Inhalt, so rappt
Dave beschwingt mit Stormzy auf der ersten Single Auskoppelung ”Clash” über Konsum und was dieser
mit einem anstellt, holt sich für seinen nächsten Sommer Hit WizKid ins Boot. Weitere Features wie James
Blake, Boj & Snool Aalegra dürften auch nicht enttäuschen.
”We´re All Alone In This Together” könnte das wichtigste britische Musikalbum des Jahres werden.

Am 24.06. erscheint das achte Studioalbum „Meet The Moonlight“ von Jack Johnson. Zeitgleich startet
seine Sommertour quer durch die USA.
Das Album ist zum größten Teil in persönlicher Zusammenarbeit mit Produzent Blake Mills entstanden;
aufgenommen wurde es in Los Angeles und Hawaii. Es behandelt Themen wie die Zerbrechlichkeit menschlicher Beziehungen und die Unbeständigkeit des Lebens

Vinyl is limited to 500 copies on black vinyl, no download card. Sunzoom have been making a stir from their Liverpool base and this highly anticipated debut is not to be missed. Lo-fi and DIY in equal measure, the record was only conceived of 4 weeks into the first lockdown when songwriter Greg McVeigh decided that recording music was the only way to stay sane. Building a makeshift studio in the kitchen of his North Liverpool home (and deciding to name the new project SUNZOOM after a favourite Captain Beefheart track) Greg set about learning the processes of home recording from the ground up. The album theme draws upon the peculiar aspects of lockdown; isolation, spiritual introspection, longing to be somewhere else, weird dreams, drinking too much and takes the listener on a journey of escape. The songs move the record through fields, countries, time, space, memories and longings to finally end back at home in the reality of the four walls. Digging into some past unreleased recordings, poems, unfinished snippets of tunes and writing new songs (usually sung into his phone during months of daily beach walks with his dog) Greg began to build a record within the claustrophobic environment of summer 2020. Friends were able to collaborate (by the magic of old recordings and new parts sent via email) and in early 2021 Sunzoom entered ARK Recording Studios in Liverpool to add live drums and vocal parts subsequently spending a month mixing the record back home in the familiar surroundings of the kitchen where the concept first began. The result is a snapshot of the period that magically transforms personal and public strife into glorious pop-folk psychedelia.

Das schwedische Quartett UNLEASHED gehört schon seit Ewigkeiten zu einer der agilsten und gleichzeitig
besten Bands der weltweiten Death Metal-Szene. Keine andere Band haut in regelmäßigen Abständen
so unberechenbare Todesblei-Longplayer unters Volk, und versteht es dabei, sich von Album zu Album
zu steigern. Hammer Battalion aus dem Jahr 2009 war ein weiterer Geniestreich aus dem Hause UNLEASHED und steht hochkarätigen Vorgängern in nichts nach. Noch heute gehört dieser Kracher zu
den besten Longplayern der Schweden-Combo. UNLEASHED liefern haargenau das ab, was die Fans von
ihnen erwarten. Hier gibt es reihenweise Elchtod-Granaten am Fließband !!! Gradlinige Songs wie ”Midsummer solstice” , ”Home of the brave”, ”Entering the hall of slain” oder ”Warriors of midgard” stehen
in allerbester Stockholm-Tradition, und lassen dabei andere Death Metal Bands locker im Regen stehen.
Hammer Battalion gibt es nun als LP in strikt limitierter Auflage!

Mark Korven's original soundtrack for 'The Lighthouse,' starring Robert Pattinson and Willem Dafoe, marks his second collaboration with director Robert Eggers (The Witch).
"Robert Eggers and I were rather like the two wickies that went insane in The Lighthouse, musically speaking. We travelled to some very dark harmonic and textural places. We both enjoy not just breaking the rules, but blowing them to smithereens. The spirit of experimentation was always present."
-Composer Mark Korven


"Composer Mark Korven and I developed a shorthand working together on The Witch. This made collaborating on The Lighthouse an incredibly enjoyable process. But it was not without its many challenges. Originally, I wanted a score with no strings at all. The Witch soundtrack was so string-prominent that I wanted a full departure. I only wanted horns, pipes, conch shells, concertina - things that sounded like the sea - or the lighthouse station's ominous foghorn. It would be a minimalist aleatoric soundtrack with a nod to sea shanties and ancient Greek music. As Mark and I embraced the sound of big brass sections, it quickly became a maximalist aleatoric soundtrack.

How Sweet It Is (To Be Loved By You)' is a new advance single on the album. It’s an instrumental cover of Marvin Gaye's 1964 Motown classic. This reading of the song has a shuffle groove and features uber rhythms from Brand New Heavies' guitarist Simon Bartholomew. As Bangs put it, "we wanted to put a different slant on the tune, small combo vibe with a Wurlitzer piano lead. We were thinking of getting a vocalist to sing the tune but it's been done that way so many times.

The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on WANN, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

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I met Thomas Roussel in 2017 at a Pigalle fashion show in Paris. As always with Stéphane Ashpool, the designer of Pigalle, casting is perfect and the clothes are modern and groundbreaking. But my eyes and ears were intrigued by this retro-futuristic instrument next to me, the Cristal Baschet. French composer and conductor Thomas Roussel wrote the soundtrack of the show.
He add this magnificent instrument in his "not very classical" orchestra, this is what I immediately loved with him!
He invited us into his world of classical music with a fresh twist, simplicity and audacity.
At the same time I was scratching my head to find something different to celebrate the 15th anniversary of Ed Banger records.
For a long time I had this idea of mixing both electronic and classical music together. Exactly like my heroes Metallica did in 1999 with the Symphonic orchestra of San Francisco! Thomas Roussel seems the perfect man for this crazy idea. We did Ed Banger 15 together and we became friends.
Thomas Roussel grew up in Dijon, spent his days at the conservatory and his nights at L’An-Fer, one of the most respected Techno club in France. Probably the reason why he ended up working with Jeff Mills, on two projects mixing Jeff’s 909 and a classical orchestra.
By experimenting new ways of using an orchestra, by creating state-of-the-art scenography and producing more ambitious music he quickly became the man in charge of everything "classica". The list of his collaborations is too long and will ruin this little introduction.
It could sounds like this : Chanel, Apple, Cartier, Kenzo, Nike, Dior…
Performing from Paris to Macau, from Monte Carlo to Dubai and from New York to Beijing!
In 2017 Thomas Roussel released his first album as Prequell with Universal Music.
A successful collaboration that really allows Thomas Roussel to become an artist.
In 2022 Ed Banger records is proud to release Thomas Roussel "LATE METAL" a 3 tracks EP.
Where uplifting orchestration and electronic music composing collide. The perfect soundtrack of a block buster movie mixing George Lucas & Christopher Nolan generations. It’s also a marker of our time, music boundaries are explosing. It’s time to hear the London Symphony Orchestra’s strings battling with a Drum’n’Bass beat, a way to DEIFIED classical music.
It’s also a record for your eyes. Art director Andy Picci created an algorthym and gave life to a mercury abstract form. This collaboration
marks the need for Thomas Roussel to always push the boundaries and take his project to another LEVEL.

World renowned extreme Metal titans KREATOR are back. 5 Years after their incredibly successful “Gods Of Violence” album (2107, #1 in the German album charts, #4 in Austria, #7 in Czech Republic and Finland + chart entries in numerous other territories), the genre-defining band presents their most political effort to date. “Hate Über Alles” (in tradition of US punk icons DEAD KENNEDYS’ “California Über Alles”) is a bold statement against hate and the division of society in today’s world. While perfecting their signature sound of thrash metal that inspired countless other bands over the past 4 decades, KREATOR have managed to close the gap between the old and new school, still reaching new audiences, playing sold out shows to even bigger crowds as they move on. “

Hate Über Alles” features 11 tracks that once again show who’s boss in this game that many begin but only few ultimately last in. The crushing frenzy of the title track, the pounding “Strongest Of The Strong” featuring world famous vegan strongman Patrik Baboumian, the nostalgia of “Become Immortal” or the extravaganza of “Midnight Sun” make the band’s 14th album their most diverse and thrilling so far. “Hate Über Alles” will be accompanied by massive online and out-of-home campaigns, leading up to the band’s European co-headlining tour with Grammy-nominated US powerhouse LAMB OF GOD in November/December 2022. The album is available in various lavish vinyl editions featuring a beautiful, yet grim trifold artwork by famous artist Eliran Kantor (TESTAMENT, SOULFLY, HELLOWEEN, HEAVEN SHALL BURN, HATEBREED among others) as well as in a noble CD Digibook and bold box set including an extended Making-Of Book, a live album of the band’s 2021 Bloodstock Open Air appearance, an art print of the cover and a pin of the band’s iconic logo.

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

Classic 2001 collection from Detroit's ADULT. 20th anniversary of the original release, 10th anniversary of the first vinyl pressing. Available for the first time in red & black marbled vinyl. "We've wanted to re-release this album for some time," says ADULT.'s Adam Lee Miller, "but we weren't ready until now. We have some new material in the pipeline, and we thought this would be a nice way to reintroduce ourselves." It is indeed a nice way for the hugely respected Detroit duo to herald their return to the world of music, especially for anyone who missed out on Resuscitation the first time around _ the album was never available digitally until the 2012 re-release and vinyl pressing on Ghostly International. The reissue thus presented the chance to own one of the more influential records of the early 2000s: either on double 12" LP or, for the first time, as a digital release. Now, in 2022, the vinyl is available for the first time in a new red and black marble colorway. When it first dropped in 2001, Resuscitation served as a de facto introduction to the duo, collecting a bunch of songs on CD that had only previously been available on hard-to-find singles and EPs. Eleven years later, it does the same thing, except this time around, we can see just how influential its creators' work has been _ and ADULT.'s music only sounds more remarkable with the benefit of hindsight. At the time, Resuscitation's combination of crisp beats, squelch-laden synths and Nicola Kuperus' detached monotone sounded like a broadcast from the future, steeped in the analog synth sounds of forebears like Kraftwerk but possessed of an ultramodern sheen all its own. The duo's visual aestheticwas just as important _ Kuperus' photography adorned all their album packaging (including this re-release), and their liveshows drew on a sense of what a reviewer once called "detached intrigue." Echoes of ADULT.'s aesthetic can be heard today in everythingfrom today's surfeit of analog synth-toting minimal wave bands to the highly stylized divas who dominate the pop charts. But really, in 2022 Resuscitation still sounds like no-one else.

Coming hot on the heels of dynArec's 'Murder is The Number' EP, Sync 24's Cultivated Electronics label presents this double-pack by Alonzo, aptly named 'They Come In Twos'. Originally from Miami and now based in New York, Alonzo has previously released on W.T. Records, Zement, RotterHague, Phormix, Kraftjerkz, and Lost Soul Enterprises. He's also known as Lithium Parasites alongside bandmate, Vidrio. Alonzo's uncompromising approach draws influence from bleak urban landscapes, old city ruins, kinematics and all things bass which he finely represents across these 8 new tracks. Pressed on Yellow and Black vinyl!!!

The Days of Mars is the debut album from artists Delia Gonzalez & Gavin Russom. It was released on October 10, 2005. All the music was created by layering live takes of custom built synthesizers and other instruments. "DFA duo skips stones across the same cosmic lake as forefathers Tangerine Dream, Terry Riley, and Mike Oldfield. (...) Still, in a landscape full of seen and unseen phenomena, where the unknown seems almost passé, Gonzalez and Russom make music for taking things in stride. By turns bleak and beautiful, this is music for a new, but vaguely familiar world." - Pitchfork

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Beja Power! is a living archive of the finest, most heartfelt Beja songs—a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. Few older Beja recordings were produced. Even fewer, if any, remain.

Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.

A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old. Yet their sounds are also reminiscent of Dick Dale's 1963 "Misirlou" and jazz great Charlie Rouse's 1968 "Meci Bon Dieu". This album could be 6,000 years, 60 years, or 6 months old.

Along with his Dorpa Band, formed in 2006, Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea.

Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.

An absolutely legendary album from Lebanon by Issam Hajali’s group Ferkat Al Ard, “Oghneya” stands out as one of the great musical gems of the Arab world. A groundbreaking release from 1978 that represents the meeting point of Arab, jazz, folk and Brazilian styles with the talent of Ziad Rahbani, who did the albums arrangements. Filled with a variety of sounds and genres, from Baroque Pop to Psych-Folk to flashes of Bossa Nova, Tropicalia and MPB, “Oghneya” is like if Arthur Verocai took a trip to Beirut in the 70’s to record an album.

In 2015 we heard Ferkat Al Ard’s music for the first time, a Lebanese trio compromised of Issam Hajali, Toufic Farroukh and Elia Saba. It was a stunningly unique release that blends traditional Arabic elements, jazz and Brazilian rhythms hand in hand with poetic-yet-politically engaged lyrics. The band was active in the left-wing movement of Lebanon of the time and they communicated their political ideas candidly through their songwriting.

In our mind the idea was to see whether Issam was interested in re-releasing “Oghneya.” He was not opposed to it, but also made it clear that it was not his priority for a first project. He suggested we start with his first album, before Ferkat Al Ard was formed, “Mouasalat Ila Jacad El Ard,” which was recorded in 1977 in Paris together with his friend Roger Fakhr (whose work we have been privileged to re-release in the meantime as well.) “Mouasalat Ila Jacad El Ard” is melancholic, stripped-down, guitar-based folk intertwined with jazz-fused breaks, and the unique sound of the santour glistens through. While the music is very accessible, some song structures are rather atypical, neglecting common patterns of verse, hook, verse, hook. The lyrics mostly trace back to the poetic work of Palestinian author Samih El Kasem, with one song also written by Issam, who composed the music for the whole album.

We re-released Issam’s “Mouasalat Ila Jacad El Ard” in 2019 to a great reception, with positive reviews all over the place and an ongoing appreciation for the album. This meant it was time for us to undertake an “Oghneya” re-release again!

If you compare “Mouasalat Ila Jacad El Ard” and “Oghneya,” one apparent distinction is the strong Brazilian influence in the music. Issam Hajali explained that you can already hear traces of this influence on his debut, but it’s “Oghneya” where this musical relationship really peaks. Lebanon and Brazil have had a strong connection for nearly a century due to the continuous flow of immigrants from one country to the other. Today, Brazil has the largest Lebanese diaspora in the world, the “Brasilibanês”. The migratory route was not a one-way street, however, and some Lebanese returned to their home country, taking recordings of the music they learned to love in Brazil with them. They were followed by Brazilian musicians who visited primarily Beirut during the 1960’s and the first half of the 1970’s, just like many other musicians from around the world. In these years between the independence and the beginning of the civil war, Beirut became even more of a cultural center and regional hub than it already was.

Bossa Nova, at that time, was one of the defining sounds of Brazilian popular music. Issam Hajali remembers hearing it at a bar in Beirut’s Hamra district in 1974, which hosted musicians from Brazil playing the occasional gig. When Issam had returned from Paris in 1976 he got to know Ziad Rahbani, son of Fairouz, who had a shared passion with Issam for a lot of things, among them Brazilian music. Issam showed him some of the tracks he was working on, and Ziad agreed to help with arranging. The music that evolved from this cooperation between Ferkat Al Ard and Ziad Rahbani’s arrangement is, to put it lightly, outstanding. Issam’s singing is embedded into the uniquely beautiful string arrangements backed by the band’s poignant, swinging groove. The lyrics of the songs on “Oghneya” are based on poems by Mahmoud Darwish, Samih Al Qasem and Tawfiq Ziad, three pillars of Palestinian poetry within the last century, and their influence on “Oghneya” was itself a strong political statement during the Lebanese war.

“Oghneya” was eventually released in 1978 by the band themselves on cassette tapes. Finding a blank tape that fit the playing time proved to be impossible during the war so they needed to open up the case of each cassette to physically cut down the tape and customize it to the playing time. The album was well received, though some cultural critics deemed it too “occidental” in its sound. While the cassette was circulating, Ziad Rahbani started a label called Zida, together with Khatchik Mardirian. They decided to help the band with a re-release on vinyl in 1979, a year after “Oghneya” was originally released on cassette.

Sadly, there are two tracks from the original release of “Oghneya” that did not make it onto the reissue. “Ghfyara Ghaza” was replaced by the song “Juma’a 6 Hziran.” while “Huloul” was taken off without a replacement. This happened as a precondition from the band for this reissue to happen. We would have loved to include all tracks, but the decision ranged between having either a reissue like the one we put out or no reissue at all. Thus, an easy choice for us.

As always both vinyl and CD come with an extensive booklet with an interview with Issam as well as unseen photos from the recording sessions.

THE OKLAHOMA KID - a modern metal experience
Known for their very own blend of genres, the German 5-piece never falls shy of
pushing the boundaries and breaking old conventions.

Choki Biki Records is proud to present: Coakley Collabs Vol.1! A new collaboration EP curated by DJ and Producer Josh Coakley; a Dublin based DJ & Producer. Coakley Collabs Vol.1 consists of six Techno orientated collaborations between Josh Coakley and other Irish talent including; blk., Sharpson, jxck, KIRK, Karl Seery and Black Traffic. Each track varies between a blend of Acid, Electro, Trance and Breakbeat, under the umbrella of Coakley’s signature Techno sound. Josh Coakley & Karl Seery – W.O.T.U You might be familiar with the introductory track: W.O.T.U by Coakley and Dublin producer Karl Seery, as it has already received serious airtime on BBC Introducing thanks to Jaguar. This techno banger features an array of rave stabs and classic hardcore breaks, which perfectly represents the collaboration between Coakley’s signature techno sound, and Choki Biki’s Nu-Rave aesthetic. Josh Coakley & blk. – Detroit Next up is Detroit featuring prolific techno producer blk..This dubby – techno track features the iconic acapella of Fedde Le Grande’s iconic ‘Put Your Hands Up For Detroit’. Its use of 808 programming gives an authentic replication of the early Detroit techno productions. Its contemporary hard-hitting nature is influenced by the likes of FJAAK, which blends nicely with its clear influence from Jeff Mills. Josh Coakley & Black Traffic – Fade To Grey Fade To Grey comes from Josh Coakley’s Collaboration with Scott Prendergast AKA Black Traffic. The pair have composed a track that tows the lines between Trance and Melodic Techno. Black Traffic’s signature use of rich textures and melodies contrast with Coakley’s ‘in your face’ techno drum programming. Fade To Grey is already making the rounds in Irish clubs as it was featured in Four Four Magazine as track of the week. Josh Coakley & KIRK – Illusionist Illusionist is an Acid Techno track from Coakley and Carlow based producer KIRK. Illusionist steers away from the direction of the ‘retro’ Detroit sounding Techno and moves towards the more atmospheric sounds of European Acid Techno producers such as A.S.Y.S. & T78. Its arpeggiated 303 programming and use of psychedelic vocal samples creates an atmosphere that would be right pounding throughout a club in Amsterdam. Josh Coakley & Jxck – MYB Next up is MYB, an Electro-Breaks collaboration between Coakley and Jxck. This syncopated belter is sure to make you do exactly what it says on the tin; Move Your Body! Featured by the one and only HOUZ, this Break track has already seen serious support from Techno and Electro DJs alike. With a return to a ‘4 to the Floor’ beat halfway through, this heavy hitter is sure to keep an audience on their toes. Josh Coakley & Sharpson – Who’s In The Garden (feat. Wax White) The Final Track of Coakley Collabs Vol.1 takes a total turn with Who’s In The Garden?. This track is a double collaboration between Coakley, Choki Biki label boss Sharpson, and Irish Hip-Hop group Wax White. This high tempo breakbeat track has a cheeky, lighthearted nature to it thanks to the use of happy hardcore sounding synths and Wax White’s hilarious Dublin Mannerisms thrownout throughout the track. The track comes to a screeching halt with an Electro Breaks breakdown supplied by Sharpson. Coakley’s intricate arrangement and production skills really shine through in this final track, as its numerous ideas fit tightly knit together.

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

Amy Winehouse’s Live at Glastonbury 2007 will be available on vinyl for the first time from June 3. It captures her performance on the Pyramid Stage at that year’s festival, 15 years ago this summer.

Winehouse’s show, her second at Glastonbury, will be released in a 2LP black vinyl set. They bring back to the fore one of the most memorable highlights of her all-too-short career, capturing not only her unique artistry and song craft, but the singer and writer’s trademark, between-songs banter and the sheer love for her emanating from the festival crowd. Highlights include “Rehab,” “You Know I’m No Good,” “Love Is A Losing Game,” “Valerie,” and “Tears Dry On Their Own,” as well as her cover of Toots and the Maytals’ “Monkey Man.”

Amy played a second set later the same day on the Jazz World Stage, and returned to the Pyramid Stage the following year, firmly establishing herself as part of the world-famous festival’s remarkable history. The artwork for the forthcoming release includes recollection of the performance by Glastonbury Festival’s co-organizer Emily Eavis. “Amy Winehouse was a Glastonbury-goer through and through,” she says. “She either came and played or, when she wasn’t working, came and camped. She played in the blistering heat and the heavy rain, and there were so many magical moments to her performances.”

Spider-Man is an established worldwide cultural phenomenon and this movie is already breaking records and exceeding all expectations - Spider-Man: No Way Home is set to be the film of 2021. The thrilling soundtrack by Oscar® and GRAMMY® winning composer, Michael Giacchino, contains the infamous Spider-Man theme, beloved of fans, alongside other popular melodies from the wide-ranging MCU/Spider-Man universe.

Kicking off proceedings on new label, Scene Unseen is Yorkshire’s finest, Jinjé a.k.a. Lee J Malcolm.

Scene Unseen will focus on exploring and showcasing scenes from around the world (some seen or some maybe unseen), as well as releasing music from artists who incorporate sounds from across the globe within a music style that's closer to home. This is where Jinjé steps in, delivering an EP of Afro-funk and Afro-tech. He draws upon his usual duties as a fine Techno, House and Electronica producer and combines them with rhythms inspired by African and Indian music, using instruments (played and recorded live by Jinjé) and field recordings from both regions.

Jinjé (Lee J Malcolm) has released on labels such as Messrs. Kicks & Drums, EPM Music, Mesh and Ostgut Ton. He was also a founding member and mainstay in the Leeds band, Vessels (Different Recordings), until leaving a couple of years ago to concentrate on solo projects.

The track names tell all, as Jinjé gives a clear nod to the Africanism is his music. First track, 'Ngoma' is a name used across Africa to describe certain drums and percussive instruments, which can be heard here, like Djembes from the Conga region, as well as live and acoustic components, blended with modular and other electronic sounds.

'Burkina Faso' takes us west and hits the ground running with a vocal sample of Tribal women from the area, singing praise and joy to engineers who have come to provide fresh water to the village: "Praise God for they have come to build us a well." The progression of the track is based around this joy and develops nicely alongside some intense bass and drums.

'Dusk' is inspired by thoughts of the Serengeti planes at night fall, all built around Jinjé's live M'bira plugged into a modular synth, grouped with live flute and field recordings from India which provide additional percussion.

'Ya Maji' is a collection of high energy rhythms from a Moroccan frame drum, congas, clapping, live bass, distorted marimba and the mighty Korg Ms20 playing the lead synth lines.

Last up is 'Jara', a nod to Steve Reich and his six marimbas, as well as drawing inspiration from Fela Kuti. Vocal samples bring in more of the field recordings Jinjé made in India, as well as the clapping elements. Acoustic and electronic sounds intertwine to great effect and sum up the EP as a whole.

Look out for more from Jinjé in this musical direction as he seeks to bring these tracks and future ones to a live band setup.

After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway.

Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with Lasse Marhaug. An esteemed avant-noise artist, Marhaug envisioned making music that would fall loosely in line with Throbbing Gristle. Kelly, on the other hand, had planned to create something inspired by Enya, an artist who has had an enduring impact on her creative being. They met each other halfway, pairing tough, industrial sounds with ethereal Celtic mysticism, and creating music that ebbs and flows between tension and release.

One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’.

Between the late 70s and the early 80s, pop music was in a transitional phase. After a return to the roots of punk, rock was morphing into new wave, while disco was rapidly declining and the electronic revolution, already on the rise, was ushering in the transition from analog to digital. This period also saw the emergence and relatively brief flowering of a commercially dominant style that mixed soul influences (especially Stevie Wonder and Ear th Wind & Fi re) , folk/pop songwriting and jazz sensibilities in equal measure, creating a hybrid easy on the ears but also emotionally and musically rich. It was the style represented by artists like Christopher Cross, Michael McDonald, Gino Vannelli and Kenny Loggins, who were all influenced by black music. They belonged to a larger trend that took place in all major music producing countries, including Italy where, like so many other things, the style was not merely imported or copied, but reshaped into a specifically local version based on the nation's tastes and cultural traditions. In Italy, a soulful and sophisticated approach to pop music was embraced not only by established names like Mina, Alan Sorrenti and Loredana Berté, but also, and perhaps most importantly, by an entire generation of writers, arrangers and musicians who had grown up listening to early fusion, to Steely Dan's refined recordings, and to Quincy Jones's productions. So, with this compilation we hope to give new exposure to artists and songs that, despite having moderate or little success when first released, must be regarded as among the creative peaks of Italian pop music. "Paisà Got Soul" features pop veterans Peppino Di Capri, Mario Lavezzi and Alberto Radius alongside atypical singer-songwriters (Enzo Carella, Enzo Cervo, Gino D'Eliso), Italo-disco heroes (Stefano Pulga), international hit composers (Beppe Cantarelli, who has co-written for Aretha Franklin and Mariah Carey), Brazilian-born naturalized Italians (Jim Porto) and complete unknowns (Franco Camassa, I Ricci, Massimo Stella).It brings together little gems that in most cases are no longer available on the market, or only available in their original and now very rare vinyl format. We believe they all deserve to be rediscovered today, partly because of the recently renewed interest in "yacht rock", as this music style has been retrospectively named, and partly because they provide further evidence that Italian artists rework international music styles in creative and original ways.

Compiled and conceived by David Nerattini partnered by Pierpaolo De Sanctis

YUNG DUMB Records and Model Future present Wade Galaxy. A collaboration between Toronto-based AZARI, Butr, and vocalist Jeremy Glenn. The trifecta comes forward with an EP that will bring you through a modular soundscape of love, lust, and distrust inside the hypercube. The A-Side is a hazy fusion of R&B and slowed electro, accompanied by Jeremy Glenn's ethereal vocals. The B-Side provides a room shaking cerebral 2-step remix of 'Phaze' by James Bangura of Black Rave Culture via Washington, DC

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career.
Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music
genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive
analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics.
According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles
Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”.
The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a
DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day.
Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor."
Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and
knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured.
Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me
Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists,
weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades.
As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the
scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music"

Next up on Lonewolf is Bohm!

This fresh collab will see the Dutch producer bringing two EPs “Leaving Earth Part.1 and 2” on EYA Records sister label this year.
Intricate rhythms,bleeps and bass, emotive melodies and acid lines.

The artist opens a portal to new dimensions, it’s a powerful journey into timeless music and deep space. 5,4,3,2,1.. ignition and take off. The dream is alive.

(Emmanuel Top, Tom Hades, Kony Donales + original remastered) Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic.

Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic. Back in the mid-nineties, Frank Struyf was churning out top club hits on Dance Opera, Circus, Frank’s own Zolex Records and our very own XTC and Bonzai Records imprints. Despite his busy DJ schedule Frank still found the time to produce his own sounds. Many years of producing quality records followed and he is still twiddling the knobs and spinning sets to this day.

The Original Mix graces the A1 slot, with its dark drums and rolling techno vibe hitting the spot. Moody and twisty, the groove becomes infectious and hypnotic thanks to a combination of blippy, bleepy sounds and relentless strings. The energy levels rise after the break, causing chaotic scenes on the floor, an absolute stomper. French DJ and producer Emmanuel Top takes up the A2 slot, delivering a fine remix with his instantly recognisable signature sound. Responsible for so many acid laden moments throughout his career, Emmanuel Top remains an inspiration to many. On the remix here, the tension mounts as 303 lines fade up alongside a hybrid drum construction and hypnotic FX. The acid effect takes hold, dominating the groove, the perfect set builder to whip up the crowd. Over on the flip, Belgian artist Tom Hades offers up his interpretation, turning the original into a slamming slice of techno for the modern dancefloor. Undoubtedly, Tom is responsible for some of the best techno joints released in recent years. Here, he employs his skills to great effect, using banging beats and minimalistic sounds that drive a solid, dark room techno vibe. This one is a must have, no doubt. To complete the vinyl, we have French artist Kony Donales on remix duties. Kony is the owner of Cayden Records which has churned out top techno tracks since 2011. He is known for his minimal style and he definitely knows how to work a track. The remix here brings the essence of Time Modulator into the 21st century with a strong contemporary groove. Nice pounding kicks and crispy percussions set the rhythm loose as metallic hits join raucous percussions and FX. Top-notch stuff once again.

Diese Vinyl ist für alle Ken Laszlo Fans ein Must-have.
Nachdem wir bei der “Greatest Hits & Remixes“ Vinyl einen
Überblick über die Maxi Versionen verschafft haben, gibt es
auf Vol. 2 die original Radio Versionen.

Fast 50 min. Hörgenuss für alle Vinyl-Liebhaber mit Hits wie
“Don’t Cry“ , “Hey Hey Guy“ , “Tonight“,
“Glasses Man“ uvm.

Busy is Good is an assemblage of rare-groove and jazz-funk cuts pulled from 45s of the 70s and 80s. A project that celebrates pure creative expression, these under-appreciated tracks reflect the individual efforts of artists both of their time and ahead of it; local legends who challenged convention and produced work steeped in ambition.

From the seductively smooth “Twilight,” by New York’s own Febop, to the blistering key breaks and infectious funk of Bob Payne’s “Side By Side”, this anthology highlights the fusions and crossovers that occurred in jazz, rock, funk and soul at the time. Buddy Emmer’s jazz-kissed breezer “That Summer Nite” and Forest’s synth-pumped AOR cut “Crazy Days” further traverse the many styles that bloomed in the 70s and 80s.

"Blues styles have been used and adapted extensively throughout country music’s recorded history. In fact along with elements of Southern rock, the core of Country Music Hall of Fame member Hank Williams Jr.’s sound has always been the blues, and his latest album, Rich White Honky Blues, is a sonic testimony to that. Having used these same blues elements on his early albums, this raw and gritty new studio album returns to those roots. The project came together this past summer over three hot days in Nashville, Tennessee inside producer Dan Auerbach’s legendary studio, Easy Eye Sound. The vibrant and raucous album was recorded live with some of the finest blues session players in the country with Kenny Brown (guitar), Eric Deaton (bass) and Kinney Kimbrough (drums) all joining Bocephus and Auerbach in the studio. Never one to rest on his laurels, even after 56 studio albums and induction into the Country Music Hall of Fame, the acclaimed singer/songwriter and musician is still finding new creative ground to explore. 
"

LOVE & FIRE is the seventh full-length studio album from the multi-platinum selling reggae hybrid band The Black Seeds. It was developed over the past few years, beginning with a series of creative sessions in 2018 at the band’s creative incubator The Surgery in Wellington, New Zealand.

The original plan was to then do a classic “band in a room recording,” which got thrown out the window once the pandemic hit and lockdowns began. At that point, the group got creative, working remotely between various home studios of the band members, and the result is as strong a record as they’ve ever done, managing to capture the feelings of the past few years in a cohesive set of new songs.

The Black Seeds continue to evolve musically while defying expectations, yet still always seem to sound like no one else but themselves.

Post-Soviet punkrock/hardcore hailing from Riga, Latvia, with melodies and socio-political subtext leaving no one uninspired. HAVE NO HEROES started in 2016 and are now about to release their 2nd full-length album, titled "Letters to Nowhere" on Swedish record label Black Star Foundation, home of bands like: Atlas Losing Grip, Enemy Alliance, the Idoru, This Calling, Idle Class, Fights & Fires, Meleeh, etc.
Have No Heroes first album "Plastic World" was released by the band themselves. With no promotion and mostly by word of mouth the band's music got spread like wildfire and gained listeners all over the world (statistics says that most listeners are situated in Canada, but then… that's no lie to state that the Canadians know about the best political skatepunk available, huh).
By coincidence Swedish record label Black Star Foundation got to hear the band's music. With a fierce rhythm section, aggressive and melodic guitars, and "in your face" lyrics with actual meaning, it was impossible for BSF to not ask the band for future collaborations.

Have No Heroes is a four-piece band in the category of bands like Propaghandi, Rise Against, and already mentioned Atlas Losing Grip.

Sound Like: Pennywise, Rise Against, Propagandhi, Atlas Losing Grip

"Lou Donaldson had already helmed seven Blue Note sessions by the time he made his undisputed masterpiece Blues Walk in 1958. Joining the saxophonist were Herman Foster on piano, Peck Morrison on bass, Dave Bailey on drums, and Ray Barretto on congas for a six-song set that yielded one of his most memorable themes with the cool struttin’ title track.
This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal."

Reissue from Blahh !! as demand grows for this 4 track garage house flavoured ep. Swing in overdrive, from the deeper shuffle of "Closer" to the heavy bump of "I Don't Want U". "Freak Me Out" is a wonderfully frantic workout with all manner of samples and skittish key flex pinging around an uptempo groove, before "Talkin' About" pushes the swing even harder to conjure up a jazzy feeling smattered with sax licks and squelching synth stabs.

back in !

Nachdem sie mit seinem unglaublichen Talent aufgewachsen sind, fanden Joe und Josh, dass es an der Zeit war, dass die Welt dieses Juwel aus Bay City, Michigan, entdeckt. Das neue Album enthält 11 Originaltitel (plus 1 Cover) und zeigt Larrys kraftvollen, gefühlvollen Gesang, sein fulminantes Gitarrenspiel und sein erstaunliches Songwriting. Die Blues-Rock-Stars Joe Bonamassa, Warren Haynes und Joanna Connor steuern als Gäste ihre feurigen Gitarrensoli bei.

Tetra Hydro K is a laboratory in which two dub alchemists are experimenting with multiple sounds to mark their imprint on the French electro-dub scene. The duo of producers returns this year with a new album "Odyssée".

Coming respectively from the free party and trip-hop universe, they took their inspirations from French dub tenors such as High Tone, Improvisator Dub or Kaly Live Dub. Kanay creates a strong rhythm while Krilong brings his melodic genius with his saxophone. Electronic? Acoustic? Dub? Drum'n'Bass? Tetra Hydro K focuses on the combination of organic elements in an electronic universe. After 4 EPs since 2010, the band decided to evolve in 2016 with a first album "Labotomie". It was followed by 2 albums in 2017 and 2018 and season 1 of the amazing "Smoking Sessions" last year.

With this new album "Odyssée", THK rightly marks its stamp on the French dub landscape. They turned their passion in a life-size experimentation, a great diversification of the genres and musical influences that shines through various guests. The stellar dub of the French producer Panda Dub remixed by THK in "Labyrinthe" confronts with the Raggatek rhythm of the track "Nah Come Fi Test" for a top-notch collab alongside Sensi T. On "Black Ship" the duo signs a deep instrumental with a dark and dubby psychedelic vibe.

The rapper KT Gorique shows all her power on the track "L'impasse", displaying her powerful flow, no matter the rhythm. On this album, THK collaborates on two tracks with Tom Spirals. This MC from Glasgow lay down his voice in two different ways, first with a Hip-Hop vision, slightly Trap, in "Expedition 808" then with a Reggae flow on "Cut to the Chase". "Skanking Trip" adds a touch of Dub Stepper in this album with vocalist Loïc Paulin in full power over the heavy-weighted bass. Three instrumental tracks complete this album including the monstrous "Charcuterie Monin".

Tetra Hydro K is back on the road in 2022 to take us in their new odyssey !

3 x 140 Grs Black Vinyl.

Triple Gatefold Sleeve (Trifold) with deluxe reflective silver board with new linear notes by Tim Barr

SHORT INFORMATION/ SHORT BIOG
The 25th Year Anniversary of Goldie’s cult album “Timeless” is back on Vinyl.

Limted deluxe 3 x Black LP edition.

Helsinki quartet OK:KO releases their third album "Liesu" with We Jazz Records on 15 April. The band, led by drummer/composer Okko Saastamoinen and including saxophonist Jarno Tikka, pianist Toomas Keski-Säntti and bassist Mikael Saastamoinen (of Superpostion & Linda Fredriksson "Juniper") is a scene favourite in Finland and has recently garnered some international attention with their melodic, dynamic and original approach. The OK:KO sound is adventurous yet accessible, and contemporary yet rooted in the lineage of acoustic small group jazz.

When listening to OK:KO, you can feel that their influences also come from out of the musical realm. After all, isn't this just how it should be? Making music from your own life. Here, you can tell that the landscape of rural Finland, its poetic, at times even melancholy beauty, is ever present. It's folk song country. But don't be fooled, these guys form a real flesh and blood jazz band. That means that the music just starts when the first note hits, and onwards from there, we're in for a wild ride.

Whether punchy like on "Anima", solemn like on "Arvo", or just trekking out there a skiing lane of their own like on "Vanhatie", what you'll get is pure OK:KO. Melodic, interactive, honest and forward-reaching contemporary jazz music. That is something we appreciate – a lot!

Vinyl editions available on opaque white / black vinyl, with inside-out 3mm spine sleeve and a polylined black inner sleeve.

Repress, note new price. Black vinyl issue of the long sold out RSD compilation. Housed in heavy duty slipcase box. FOR FANS OF… Daptone Records, Big Crown Records, 45s, Soul, Funk, R&B. This is the follow up to our first volume of Soul Slabs, which is a collection of tracks from our 7” release series. For many of them, it's the first time they'll be appearing on an LP. Soul Slabs Vol. 2 is a collection of A-sides from the 7” catalog of Loveland Ohio’s Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, Kelly Finnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

* Over the past six years, Dimensions has become a leading name in the underground, with its festival, International Series, DJ Directory and Dimensions Soundsystem. Now, Dimensions extends its influence with the start of its label - Dimensions Recordings. The label launches with a 12-track compilation across three separate discs. 'An Introduction' makes a huge statement in setting out the label's intent and breadth. With artists established and new stepping up to present 12 exclusive tracks.

* Dimensions Recordings explores its darker side on An Introduction Part 3 with intergalactic oddities and twisted techno constructions, the release is definitely ones for the late hours. 'Crosstalk' from gear heads London Modular Alliance opens; a squelching, electro, hardware excursion demonstrating a small snippet of what's to come from the talented trio. Next, French artist, Upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey 'Soft Shadows'. The third offering comes courtesy of Fachwerk label boss and prolific techno artist, Mike Dehnert; who presents raw but melodic track in 'Tokio,'which maintains his minimal and stripped back aesthetic beautifully. Chicago's Steven Tang in his Obsolete Music Technology rounds off the release with 'Comb Freq,' a devastatingly powerful mix of acidic, bleeping dance floor energy!

· First ever reissue of this mega rare sought after French acid psych secret!

· Featuring an insert with liner notes and interviews by Quentin Orléan, plus photos!

· Limited edition of 500 copies only!

Ultra rare, sought after French acid folk psychedelic masterpiece, Long Orme is the work of singer-guitarist-songwriter Yves Fajnberg, his girlfriend singer Anne Marie Butel plus a full cohort of musician friends. The LP was laid down to a 2 track Revox Reel To Reel recorder between late 1974 and early 1975 and originally released in 1975 by Sonart Disques to such a limited run that an original copy sells nowadays for no less than 400 euros.

Together with Yves Chauvet, Fajnberg had worked on Dominique Droin's Wave On LP issued by Le Kiosque d'Orphée, all done on a small home studio set by Chauvet. They used the same facilities, mainly two 2-track Revox reel-to-reel magnetophones and an 8-track mixer, to produce a delightful peace of poetry and acoustic guitar acid folk sounds which will appeal to fans of artists such as Season, Jeff, Beautiful Losers, Yves, Serge & Victor, Manu Lannhuel, Denis, Jean Yves Tourbin, a.o.

Never reissued before, the Wah Wah edition features original sleeve artwork plus an insert with liner notes & interviews by Quentin Orléan. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 - in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.


"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned".
Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

"Raicevic is clearly still in the early learning-curve stages," which it a key LP to understand Nik's evolution and setting the path for more evolved works to follow.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."


Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project:

“Nam June’s Spirit Was Speaking to Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander. The building was packed with Paik’s artwork and related material. I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera.

It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul. It was literally out of the blue. Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me.

The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering.

Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated “In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.” Paik himself was a master shaman and vividly used shaman rituals and symbols for staging his performances and installations.

These recordings also became a way for me to explore the mythic form of radio—a medium which is full of mysteries. The transmissions captured may be “secret broadcasts” on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels. Some of these stations were likely for military use or espionage or relics of the Cold War. But many others continue without apparent explanation. These are just some of the questions that remain unanswered.”

Commissioned in 2017 by documenta 14's radio program “Every Time A Ear di Soun,” these recordings were continually broadcast on eight radios stations around the world that year. Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air. The LP comes replete with a booklet of photographs of Paik on the set of Michael Snow’s unreleased film Rameau’s Nephew (1974).

Sean McCann, 2020
Aki Onda, 2017

20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu

- 2022 repress -

light blue marbled vinyl

Nepumuk / Knowsum glides onto the Growing Bin under his given name, living his best life in this lush loungecore fantasy. Eyebrow raised and hips unlocked, Nelson strolls through affluent funk, sun-blushed boogie and slacker soul to deliver a playful pop masterpiece. A Revered MC and renowned beat maker, his syrup-smooth vocals are just the cocktail cherry on top.

Hercules and Love Affair is a project created by American DJ Andy Butler in 2004.

Black 2LP in Gatefold Sleeve. The ever shape-shifting, critically hailed Hercules and Love Affair return with ‘In Amber’, their first album in five years, out 17th June and featuring first single ‘Grace’ as well as collaborations with Anohni.

The tune-whistling DJ collective Siffleur are back with two quasi-mashup remixes of retro pop that combine Italian nostalgia, soulful beats, and Jamaican jungle vibes. This is a brilliantly smooth and playful blend, perfect for chilling out and languorous dancing.

Following the sublime smash debut "X17", LA-based label Elbow Grease head conductor Dave Aju continues on his righteous piece-by-piece journey toward a multi-genre multiverse, where deep musical roots come together in kaleidoscopic expression, and unfakeable funk reigns supreme.

"Spacio Tempo" picks up where we last left off, though with a notable drop in bpm as the title implies, with a rolling 4/4 textural tapestry that combines pulsating layers of soulful synth work, effervescent live percussion, and heavenly strings into a dense yet open-as-the-night-sky extended gem yet again. Just as the machine patterns of near-equator rhythms bubble over and begin to lock into a hypnotic groove, a bold left turn into a dank latin jazz noir vibraphone solo and SH-101 duet tango ensues, before landing us safely back at home base - right on time, at its own spacial pace.

As per the Elbow Grease release recipe so far, the B1 cut offers DJs a more driving flex, this time in the form of the "Acido Tempo Mix": a raw 303-driven take on the original which will undoubtedly stomp its way fiercely thru many bass bins in sweaty basements and warehouses worldwide. Finally the B2 blessing "Domingo Dub" closes things out, removing all but the highest vibes as an ambient drifting and uplifting take on the main theme, where the faintest of vocal tones, space echoes, and light percussive touches leave us elated in a West Coast, with subtle splashes from the D, sunset dream. Another solid single turned three-tracker sure-shot from EG.

O’o share many of the musical characteristics of their ornithological namesake. The Kaua’i O’O produced the most exquisite birdsong before its extinction in Hawaii in the late 1980s. The beauty and character of its voice was delicate and mysterious, tuneful and surprising. You can experience it with just a cursory websearch, a haunting cri de coeur from the last century. If the poor O’O is consigned to history, then life is just beginning for this French duo, based in Spain, who’ve won plaudits and awards already in their short musical lifespan.

O’o are about to release their sublime debut album Touche. This is not an endling, it’s just the beginning: “I found the name on a website of weird English language words, and I loved the way the letters were arranged like a pair of glasses,” says O’o singer Victoria Suter. “Afterwards, I went onto YouTube and started listening to the last bird of its species, calling for a mate that would never come. I thought: ‘Oh my God, that’s so sad’. Then we talked about the name and we thought it could be a nice thing to honour it and keep it alive in some way.”

Suter met her musical partner Mathieu Daubigné at college in Agen, South West France, when the pair were studying music theory in their teens. Victoria moved to Barcelona in 2010; Mathieu followed six years later. Their debut EP, Spells, appeared in 2018 a beautifully crafted patchwork of vocals and samples that is redolent of the uncanny vocalese of Laurie Anderson. The bird makes an appearance at the beginning of the EP: “Sweet tooth beak. Soft melody peak / Oh O’o, go round and round in circles / Looking for a honeydrop, til you vanish, til you drop”.

That sense of profound longing for something lost is carried over to Touche, as well as the same heightened sensory awareness of the world around them. What has developed in spades is the creative process. O’o have blossomed organically, augmenting their pop sensibilities. Avant-garde techniques have been brought to heel as the pair create off-kilter pop music that warms the heart and nourishes the brain. The catalyst that enabled this bold pop transformation came with the song ‘Touche’ itself, a saucy chanson at the heart of the album. Suter’s wry narrative about a botanical femme fatale is inserted into a lithe and skittish song with reggaeton beats and an inviting, balmy atmosphere.

“The song is about a flower which attracts male insects, producing the very same smell as the female of the species,” explains Victoria. “The poor male is fooled by the sex-appeal of this botanical trap, and gets so excited that he exhausts himself and wastes all his other chances of ulterior mating and having any offspring. The flower entices the insect in in mermaid-like fashion, to come nearer and touch her. It’s the hot track!”

‘Touche’ reaches into hitherto unexplored areas of pop, while the rest of the album is accessible in the way that James Blake, Radiohead or Kate Bush are accessible, and it always challenges, in a way that pop isn’t supposed to. Suter writes playful, poignant, observational songs that tell stories as well as tell us something about ourselves. Songs like ‘Dorica Castra’ are built upon the voice as an instrument, centrifugal and layered from its core.

Complimentary to this method is Daubigné, who brings startling innovation with found sounds, samples and clever vocal manipulations—creating unique, otherworldly sonic flourishes. A guitar whirs like a musical spinning top on ‘Spin’, created in Ableton; an Ondes Martenot appears to make a guest appearance on the title track, though it’s the ingenuity of the Prophet 8 synthesiser. “I’ll often say to Mathieu, ‘what’s that?’” says Suter, He’ll reply, ‘that’s your voice’.”

O’o found their own voice when they won a competition held by the legendary festival organisers Primavera Sound. Victoria entered the band into a competition she saw on Instagram, sending off rough demos on the final day of entry, thinking little more about it other than the fact Mathieu might be annoyed. Soon they would have to build a live set from scratch and figure out how to present their music for the first time. At stake was seventy hours of recording time at Aclam studios, used by Rosalía and Kendrick Lamar, and for the winner a coveted spot at the festival. A pool of 350 acts were whittled down, and then O’o triumphed at a Battle of the Band style face off.

The O’O might be extinct, but O’o the band have learned how to fly. Just watch them go.

Little Bihlman ist ein mit dem Emmy Award ausgezeichneter Singer-Songwriter, der schon mit legendären Künstlern wie John Fogerty, Trey Anastasio (Phish), Dug Pinnick (King's X) und dem legendären Blueser Son Seals gearbeitet hat und mit seinem Solo Album einen zeitgemäßen und doch sofortigen 10-Song-Klassiker abliefert.

Little Bihlman ist ein mit dem Emmy Award ausgezeichneter Singer-Songwriter, der mit "The Legend Of Hipster Billings" ein Americana beeinflusstes Rockalbum vorlegt.
Die originellen Songs und Geschichten sind geschnitzt aus den Kämpfen und Triumphen des Lebens, inspiriert von Motorrädern, Sonnenschein, Kaffee, Staub, Whiskey, Regen, Tattoos, Narben, Benzin und Herzschmerz. "The Legend of Hipster Billings" lädt ein zu einer musikalischen Reise durch das Herzland Amerikas ein. Von Chicago, nach Nashville über den großen Mississippi in die Badlands von Dakota, hinauf in die majestätischen Berge von Utah und hinunter in die Lichter der Großstadt Las Vegas.
"The Legend of Hipster Billings" wurde aufgenommen und produziert von Miles Fulwider (Wynton Marsalis, Willie Nelson, Norah Jones und Chick Corea) ud Andrew Glasmacher. Little selbst blickt auf seine eigene persönlichen Reise sowie auf die Zusammenarbeit mit so herrausragdenden Künstlern wie John Fogerty, Trey Anastasio (Phish), Dug Pinnick (King's X) und dem legendären Bluesman Son Seals.
Little gibt dem Americana-Rock eine neue, zeitgemäße Note, indem er tiefgründige Texte, dreckige Gitarrenriffs, Gospel-Harmonien und mitreißende Grooves zum Einsatz bringt, welche diesem Album eine besondere Kraft verleiht.
Bihlman's Songs verkörpern eine authentische Annäherung an die Essenz von Herz und Seele, welche uns alle zusammenhält.
Während seiner bisherigen Karriere war Little mit mehr als 50 Songs in TV/Filmen weltweit. Dabei so große Sender wie FOX, ABC, CBS und Netflix. Darunter die preisgekrönten Serien "Sons of Anarchy", "Days of Our Lives" und kürzlich "Big Sky".
Little Bihlman hat sich einen Weg über den amerikanischen Rock-Highway gebahnt und sich als vielseitiger Musiker und Singer-Songwriter etabliert. Als Tournee-Veteran hat Little mit vielen der großen Rock- und Blues-Legenden an weltberühmten Orten gespielt, darunter das Weiße Haus mit dem legendären Bluesman Son Seals. Im Laufe der Jahre hat Little mit Grammy-prämierten Produzenten wie Jim Gaines (Journey, Stevie Ray Vaughan, Huey Lewis ), Roy Thomas Baker (Queen, The Cars) und Bruce Robb (Cherokee Studios) gearbeitet, um nur einige zu nennen.
Die Songs auf diesem Album tragen Geschichten in sich, welche sich beim Hören auf mysteriöse und wunderbare Art entfalten.

Rare and exquisite french boogie / synth-pop reissue!

A few months after the release of her first song, "Elle se promène", which brought her a nice success, RoBERT released a second single in 1991 called "Les Jupes". This track, the second single from the album "Sine", was supported by a video clip with a refined but sophisticated aesthetic directed by Michel Gondry.

"Les Jupes" is now being reissued by the independent label AnaphoreMusic, thirty years after its original release, and is an emblematic track in the singer's discography. This new transparent blue "curaçao" coloured vinyl pressing contains the original version and the instrumental version (never before released on physical media) of RoBERT's famous "Jupes", both remastered from the original DAT tapes.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

Includes 2 bonus tracks.
Originally released in 1983 this hugely rewarding record acted as a round up of the group’s career to date and was of immeasurable value to fans. It’s aged well, too.
Comprising of A and B sides from their Rough Trade released singles plus extracts from sessions for Radio 1, Capital Radio and EMI Records, this LP contains unique versions of such classic tracks as “The Jet Set Junta” and “He’s Frank (Slight Return)”.
Oddities, and jocular moments run through the album, including John Peel introducing “Fat Fun” and thinking aloud that those Monochrome boys might be having a pop at him. The fact that it includes a wish list of the band’s best songs to this point in their career is another reason to recommend it.
Previously they may have made a handful of slightly-off-target albums, but this 1983 compilation is a front-to-back joy, fast, restless and perfectly sequenced. It plays like a cohesive album.
Includes 2 bonus tracks from the February 1979 Peel Session ‘Love Goes Down The Drain’ & ‘Noise (Eine Kleine Symphonie)’.

Rising star Amy Dabbs delivers us another huge house EP, dropping as the debut release on her brand new label Dabbs Traxx. The modern take on classic house that she's become renowned for in her recent
highly acclaimed releases permeates every track on Four Track Mind EP, serving up Amy's trademark pacey rhythmic percussion, emotive melodies, and fat subby basslines.
Ghosts kicks things off with ticking clocks and haunting melodies woven throughout, creating a deeply atmospheric track. It surrounds you with thick layers of pads and strings, underpinned with tear-jerking chords and vocals, sprinkled with touches of Amy’s beloved Juno 106. This track relays a moving tale of facing the ghosts of your past which, alongside Ghosts’ powerful percussive drops, is guaranteed to give the dancefloor goosebumps in more ways than one.
Til You See takes us in an uplifting direction, with a powerful bassline blazing against a backdrop of soaring pads and delicately placed arpeggiators, leading towards a spine-tingling yet subtle vocal as the track reaches its peak. Bringing Amy's desire to create music that moves you to life, this stunning track is brimming with jubilance and optimism from beginning to end.
Last but by no means least comes the EP's title track, Four Track Mind, its nostalgic organ sounds, bouncy percussive chops and big basslines ensuring it will be a huge dancefloor moment when played out. This energetic track takes you into the heavens with its relentlessly uplifting transitions throughout, Amy's intention clearly to place you firmly in the centre of the dancefloor with a massive smile on your face.
Having recently been named as one of BBC Radio 1's Future Stars 2022, and with a string of solo EPs coming out over the next 6 months, it's quickly becoming clear that Amy Dabbs is going to be a name we'll be hearing a lot more of this year

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.