Cerca:black box

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Recoil ist das musikalische Projekt des ehemaligen Depeche Mode-Mitglieds Alan Wilder. Mute veröffentlicht die letzten drei Recoil Alben „Liquid“, „Unsound Methods“ und „subHuman“ am 7. Oktober neu, jeweils auf CD und farbiger Doppel-Vinyl. Ursprünglich ein Soloprojekt für Alans experimentelle Arbeit außerhalb von Depeche Mode, wurde Recoil zu seinem wichtigsten Musikprojekt, nachdem er 1995 seinen Ausstieg aus der Band bekannt gab.

Das Golden Gate Jubilee Quartet, Rosa Torras, Diamanda Galás, Nicole Blackman, Samantha Coerbell und andere treiben Alan Wilders gleichfalls leidenschaftliche wie aufreibendes Recoil-Album „Liquid“ an. „Liquid“ wurde im Jahr 2000 veröffentlicht und besitzt eine hypnotische und zutiefst aufgeladene Anziehungskraft, die sich aus einem intensiven Geflecht aus Verlangen, Wut und Gewalt speist. Ein außergewöhnliches Werk zur Selbstreflexion in Gesellschaft der eigenen dunklen Seite, das sich auf eine wirklich verstörende Weise in die Psyche bohrt.
Das ursprünglich 2000 veröffentlichte Album des Soloprojekts von Ex-Depeche Mode Mitglied Alan Wilder (inkl. der Singles 'Jezebel' und 'Strange Hours'). Jetzt auf schwarzem Vinyl.

The electric eels were the first punk band, full stop. They may not have “started” the genre, but they were the first to tick all the boxes. The eels rejected every 1970s rock convention—professionalism, virtuosity, subject matter, image. Dave E.’s caustic vocals, complete with an aggressive lisp and a head full of snot, would become de rigeur a few years after the group disbanded. Meanwhile, the songs’ focus on car crashes, suicide, neuroses, and generally hating people were as far out of the mainstream as possible. The two eels tracks that do approach the subject of romance couch it in terms of not really caring that much about it (“Jaguar Ride”) or placing it in the context of a grisly murder (“Silver Daggers”). Also consider John Morton’s signature guitar sound, a nails-on-chalkboard tone with brutally free soloing inspired more by Albert Ayler than the blues or aspirations to technical facility. Ditto Dave E.’s clarinet playing and affection for lawnmowers and vacuums during live performance. They were notoriously violent not only among themselves, but towards audiences, police, and anyone unfortunate enough to be around them when things went south. Then of course there are the leather jackets, the clothing festooned with rat traps or safety pins. And no bass player, why bother. There is simply no other “proto” band to have had all these pieces in place circa 1973- 1975. Yet it is a mistake to consider the eels exclusively in such a context. Yes, the eels could and did shock anyone who encountered them, but they also had great songs. While both Dave and John were visionary writers, they also had rhythm guitarist Brian McMahon, a melody and riff machine who wrote many of the band’s signature songs. And they were no one-trick pony. Although much of the band’s material is appropriately high-energy, there is also the downer eels—morbid, harmonically risky, and in full existential crisis. Although it’s not a focus of this compilation, the eels also had a penchant for completely free improvisation. Over the last forty plus years, there have been several electric eels compilations. Spin Age Blasters is quite simply the best one ever assembled, every single key track is here in its best version, properly mastered by John Golden, and sequenced with an eye towards both flow between tracks as well as individation between sides. A true monster of an album.

High Roller Records, reissue 2023, black vinyl, ltd 250, lyric sheet, mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

High Roller Records, reissue 2023, black vinyl, ltd 250, lyric sheet, mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

"Best of Soundgarden Redux" ist das bereits traditionelle Begleitalbum zu den Werken der Redux-Reihe. Es ergänzt "Superunknown Redux" mit 15 weiteren Coverversionen klassischer Titel aus dem umfangreichen Repertoire der Grunge-Götter, die von ebenso vielen spannenden Interpreten aufgenommen wurden.
Als SOUNDGARDEN gegen Ende des 20. Jahrhunderts ins Rampenlicht traten, war die Band aus Seattle ebenso authentisch, heavy wie völlig unbeeindruckt von allem, was damals als angesagt und cool galt. Ihr kraftvoller Sound, erhabene Melodien und punkige Attitüde ließen die Amerikaner zu idealen Vorreitern des Grunge werden. Als diese Welle abflaute, gelang es SOUNDGARDEN durch überragende Musikalität und intelligentes Songwriting die Ära des Grunge zu überdauern und sich auch international an der Spitze zu halten.
Ihr ikonisches Album "Superunknown" war nicht nur das kommerziell erfolgreichste Werk, welches SOUNDGARDEN weltweit zu Megastars werden ließ, sondern es enthält auch die eingängigsten, bedeutendsten und härtesten Songs, die diese Band je geschrieben hat.
Auf "Superunknown Redux" spielt eine handverlesene Auswahl der lautesten, coolsten und vielseitigsten Bands der heutigen Rock- und Metal-Szene alle fünfzehn Tracks dieses bahnbrechenden SOUNDGARDEN-Albums in fesselnden eigenen Interpretationen neu ein.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS und AC/DCs "Back in Black" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Mit weiteren SOUNDGARDEN-Klassikern des Begleitalbums "Best of Soundgarden Redux" vergrößern Magnetic Eye Records gemeinsam mit fünfzehn Freunden das enorme Vergnügen von "Superunknown Redux", welches dem ikonischen Album der Legenden aus Seattle den gebührenden Tribut zollt.

"Best of Soundgarden Redux" ist das bereits traditionelle Begleitalbum zu den Werken der Redux-Reihe. Es ergänzt "Superunknown Redux" mit 15 weiteren Coverversionen klassischer Titel aus dem umfangreichen Repertoire der Grunge-Götter, die von ebenso vielen spannenden Interpreten aufgenommen wurden.
Als SOUNDGARDEN gegen Ende des 20. Jahrhunderts ins Rampenlicht traten, war die Band aus Seattle ebenso authentisch, heavy wie völlig unbeeindruckt von allem, was damals als angesagt und cool galt. Ihr kraftvoller Sound, erhabene Melodien und punkige Attitüde ließen die Amerikaner zu idealen Vorreitern des Grunge werden. Als diese Welle abflaute, gelang es SOUNDGARDEN durch überragende Musikalität und intelligentes Songwriting die Ära des Grunge zu überdauern und sich auch international an der Spitze zu halten.
Ihr ikonisches Album "Superunknown" war nicht nur das kommerziell erfolgreichste Werk, welches SOUNDGARDEN weltweit zu Megastars werden ließ, sondern es enthält auch die eingängigsten, bedeutendsten und härtesten Songs, die diese Band je geschrieben hat.
Auf "Superunknown Redux" spielt eine handverlesene Auswahl der lautesten, coolsten und vielseitigsten Bands der heutigen Rock- und Metal-Szene alle fünfzehn Tracks dieses bahnbrechenden SOUNDGARDEN-Albums in fesselnden eigenen Interpretationen neu ein.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS und AC/DCs "Back in Black" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Mit weiteren SOUNDGARDEN-Klassikern des Begleitalbums "Best of Soundgarden Redux" vergrößern Magnetic Eye Records gemeinsam mit fünfzehn Freunden das enorme Vergnügen von "Superunknown Redux", welches dem ikonischen Album der Legenden aus Seattle den gebührenden Tribut zollt.

Published in 1989 in the "Weekly Shônen Magazine", "Hajime no Ippo" by George Morikawa has become over the years a cult sports manga, and remains to this day one of the longest river series, still being published, counting more than 130 volumes.

It is only natural that an animated version was born in 2000, produced by Madhouse, under the name of “Hajime no Ippo: The Fighting! of 76 episodes (covering the first thirty volumes of the series). This narrates the beginnings and the rise of a high school student, Ippo Makunouchi, in the world of professional boxing. Find now a selection of the best anime music with rock and jazz accents with the final destination: The ring! Three composers worked for this selection: Tsuneo IMAHORI (TRIGUN and GUNGRAVE), Hideki TANIUCHI (in collaboration with Yoshihisa HIRANO on DEATH NOTE) and Naoya MORI.

Jackie Mittoo is one of the defining figureheads of reggae music!
From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties,
writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul
Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based
upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

One of this year’s breakout success stories from the UK’s current thriving independent music scene,
critically acclaimed seven-piece Black Country, New Road present here their highly anticipated second
album ‘Ants From Up There’ via Ninja Tune.
 Debut album ‘For the first time’ was shortlisted for the 2021 Hyundai Mercury Prize. The band
performed ‘Track X’ live on BBC 4.
 ‘Ants From Up There’ was written in lockdown in the early part of 2021 when the band were unable to
go on tour as planned to support their album release. The result is a stunning collection of songs and a
move in direction to a more crossover, alternative sound beyond the experimental and ‘post-punk’
nature of their debut.
 New album expands on their unique concoction to create a singular sonic middle ground that traverses
classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
 Extensive global touring in 2022, including their biggest London show to date at the Roundhouse, full
UK and European Tour in April/ May. Sold out 2021 shows include Brighton, Liverpool, Manchester,
Birmingham, Glasgow, Bristol and Dublin and more.
 2021 festival dates include End Of The Road, Latitude, Fusion, Roskilde, Dour, Bol Festival, Pohoda,
Le Guess Who, Dour. In 2022 they’ll play Primavera Sound, Dour, Way Out West, Bad Bonn Kilbi, Bol
Festival.
 For fans of IDLES, Black Midi, Squid, Phoebe Bridgers, Jockstrap, Nick Cave, The National,
Radiohead.
 Deluxe 4LP 140g vinyl box set with bonus ‘Live from the Queen Elizabeth Hall’ double LP, black paper
inner sleeves, 4 art prints, lyric booklet and sticker.

Bei »24 Nights: Blues« handelt es sich um eine 2LP Standalone-Version aus dem »The Definitive 24 Nights« Boxset. Die Sammlung aus dem diese Version entstammt destilliert die Essenz aus Claptons Residencys in der Albert Hall von 1990-91, indem sie die besten Performances aus den Rock-, Blues- und Orchesterabenden zu den kompletten Konzerten für jedes dieser Genres versammelt.

»24 Nights: Blues« umfasst die Aufnahmen des Blueskonzerts. Beim Blueskonzert wurde Clapton durch die Special Guests Buddy Guy, Albert Colins und Robert Cray begleitet. Geboten wurde eine Meisterklasse des Genres mit glühenden Versionen von Standards wie »Key To The Highway«, »Sweet Home Chicago«, »Black Cat Bone« und »Reconsider Baby«.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

The next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer & multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums &-counting flagship ensemble. Joining the core NIS of Abrams (guimbri & bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) & Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman & Ben Lamar Gay (cornets), Nick Mazzarella & Mai Sugimoto (alto saxophones & flute), Kara Bershad (harp) & Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio & The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. 2xLP on Eremite USA, 2xLP & CD on Aguirre/Eremite Europe. Out 14-04.

Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group’s conceptual underpinnings, its musical references & the sheer number of the group’s members. Its music is, in a sense, an expansive form of minimalism, based in repeated & overlaid rhythmic patterns, ostinatos & modality. Its roots, its scale & its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams’ guimbri at its core, the version here can stretch to a tentet, including six horns.

Abrams has been expanding his minimalism gradually, but he has long understood a key to minimalism’s potential: the breadth of its roots in the late 1950s & early 1960s, ranging from the dissatisfaction of young European-stream composers with the limitations of serialism to the simultaneous dissatisfaction of jazz musicians with the dense harmonic vocabulary of bop & hard bop. The former began exploring rhythmic complexity & narrow tonal palates in place of harmonic abstraction (Steve Reich’s Drumming, Philip Glass’ Music with Changing Parts; perhaps above all Terry Riley’s In C & his late ‘60s all-night organ & loop concerts); the later reduced dense chord changes to scales (signally with Miles Davis' Kind of Blue, but rapidly expanding with John Coltrane’s vast project). In the 1950s the LP record opened the world with documentation of Asian & African musics, key influences on both minimalists & jazz musicians. If John Coltrane’s soprano saxophone suggested the keening shehnai of Bismillah Khan, the instrument was rapidly taken up by two key minimalists, LaMonte Young & Riley, similarly appreciative of its flexible intonation, the same thing that kept it out of big bands.

If the guimbri, the North African hide-covered lute that Abrams plays with NIS, involves a rich tradition of hypnotic healing music associated with the Gnawa people, Abrams’ music also touches on other musics as well — other depths, memories & healings, different drones, rhythms & modes. As the group expands on Since Time Is Gravity, he has made certain jazz traditions in the same stream more explicit as well. If there is a mystical & elastic quality involved in the experience of time, both in direction & duration, you will catch it here. The parts for the choir of winds expand on the roles of Abrams’ guimbri, Mikel Patrick Avery & Hamid Drake’s percussion & Lisa Alvarado’s harmonium: at times, the winds are almost looping in the tentet version, each hitting a repeating note in turn, at once drone & distinct inflection on temporal sequence. The brilliance of the work resides in Abrams’ compositions, the NIS’ intuitive execution & in Ari Brown’s singular embodiment of the great tenor saxophone tradition, including the oracular genius of Eddie “Lockjaw” Davis, & Yusef Lateef. The three pieces by the expanded NIS featuring Brown —the opening “Moontide Chorus” & “Is” & the ultimate “Gravity”— have an immediate impact, & togther might be considered a kind of concerto for tenor saxophone. Here Brown presses almost indistinguishably from composed melody to improvised speech, getting so close to language that he might have a text. Everything here is a sign. Note the tap of the Rhythm Ace that links “Moontide Chorus” to “Is”, the attentive heart always present, even when signed by a machine. There’s a link here to the methodologies & meanings of dub music & the linear & vertical collage of beats, textures & tongues: treated with reverence, a sample of a beat-box can be as soulful, as hypnotic, as a mbira or a tamboura. If those pieces with Brown are heard as a suspended concerto, the three embrace & enfold the other works, like the sepals of a flower. That placement will also touch on the mysteries of our perception of time.

Particularly in “Is”, but elsewhere as well, a phenomenon of transcendence arises in which time appears to be tripartite, at once moving backwards & forwards & standing still. This is an act of technical brilliance certainly, but also an illumination of music’s ability to represent temporal consciousness through polymetrics. This particular listener has only heard it before in a few places, including the horn shouts & bowed basses of Coltrane’s Africa, in moments of Charles Mingus’ The Black Saint & the Sinner Lady, in certain pieces where tapes were literally running backwards, & earlier still in Dizzy Gillespie’s Cubana Be, Cubana Bop, in which the composer George Russell & conguero Chano Pozo found a music that spoke at once in the voices of Stravinsky’s Rite of Spring & the vestigial rites, rhythms & songs of the Yoruba language & Santeria religion of inland Cuba.

In Joshua Abrams’ compositions & the realization of them by the NIS, in the time of one’s close listening & memory thereof, distinctions between the “natural” & the “social”, the “quotidian” & the “transcendent” are erased, suspended or perhaps irrelevant. Consider two of the ensemble pieces, one named for nature, the other social science. In “Murmuration” the repeated wind figures of flute & alto saxophone combine with the interlocking patterns of harp, guimbri & frame drum (tar) to create a perfect moving stillness, not an imitation but a witness to the miracle of the starlings’ astonishing collective art, a surfeit of beauty that might be the ultimate defense tactic.

“Stigmergy” takes its name & concept from the Occupy movement’s Heather Marsh, who proposes a social system based on a cooperative rather than competitive models, one in which ideas are freely contributed & developed as ideas rather than an individual’s property. In its form, Abrams’ “Stigmergy” is the closes thing to traditional jazz, a series of accompanied solos by each of the wind players. However, the composed accompaniment is a radically collectivist notion: a repeated rhythmic figure, call it ostinato or riff, in which the different winds each play only a note or two of the figure, a concept both more collectivist & individualistic in its conception than any typical unison figure. It suggests another of the underlying recognitions that propel the Natural Information Society, the group as social organism, the teleology of hypnotic anarchy, all parts in place, functioning systematically, evolving & expressing itself, its nature & society, as a transformative organism.

George Lewis has described music as “a space for reflection on the human condition”. This suggests that, rather than a “distraction”, at least some music might serve as a distraction from distraction. It’s a focus, a clarity, a awareness, an external invitation to interiority, as if music itself is a model for form & contemplation, an organism contemplating for us or as us. If that is a possibility, & I am sure I have heard such musics, than this music is among them. How many of our rhythms, melodies & harmonies (cultural, historical, biological, psychic) might such music carry, translate & transform in the particulate ecstasy of our own murmuration? (Stuart Broomer, April 2022)

Black + White Haze Vinyl. With a sound that was swampy, primal and modern-urban all at once_as much in the tradition of rock n' roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. Quadruple CD includes their complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree. Double LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.




















t 20 THIS IS MY HAPPY HOUR LIVE AT ADELAIDE UNIBAR
u 21 FIRE ESCAPE [LIVE AT ADELAIDE UNIBAR]
[v] 22 WHEN WORLDS COLLIDE [LIVE AT ADELAIDE UNIBAR]
[w] 23 RAVER [LIVE AT ADELAIDE UNIBAR]
[x] 24 THE SPIN [LIVE AT ADELAIDE UNIBAR]
[y] 25 CLEAR SPOT [LIVE AT ADELAIDE UNIBAR]
[z] 26 REV HEAD [LIVE AT ADELAIDE UNIBAR]
[xa] 27 SET IT ON FIRE [LIVE AT ADELAIDE UNIBAR]
[xb] 28 BURN OUT [LIVE AT ADELAIDE UNIBAR]
[xc] 29 THIS LIFE OF YOURS [LIVE AT ADELAIDE UNIBAR]
[xd] 30 SOLID GOLD HELL [LIVE AT ADELAIDE UNIBAR]
[xe] 31 BLOOD RED RIVER [LIVE AT ADELAIDE UNIBAR]
[xf] 32 DON'T LIE TO ME [LIVE AT THE LOFT]

[xh] 34 MELODRAMATIC TOUCH [LIVE AT STOREY HALL]
[xi] 35 SLOW DEATH [LIVE AT STOREY HALL]
[xj] 36 STRANGERS IN THE NIGHT [LIVE AT THE SYDNEY UNI]
[xk] 37 I'VE HAD IT [LIVE AT LE TOTE]
[xl] 38 GONNA MAKE YOU [LIVE AT THE PRINCE OF WALES HOTEL]
[xm] 39 WHEN WORLDS COLLIDE [LIVE AT SYDNEY TRADE UNION CLUB]
[xn] 40 GHOST TRAIN [LIVE AT THE PRINCE OF WALES HOTEL]
[xo] 41 THE OTHER PLACE [1985 FLEXI DISC]
[xp] 42 SHE CRACKED [1985 FLEXI DISC]

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Machine Gun Kellys zweites Punkrockalbum „mainstream sellout“ ist nun auch als Vinyl erhältlich!

Das Punkrock-Masterpiece besteht aus 16 Songs, unter anderem mit Features von WILLOW, Lil Wayne, blackbear, Bring Me The Horizon, Gunna und Young Thug. Produziert wurde „mainstream sellout“ von niemand geringerem als dem Schlagzeuger Travis Barker. 2021 gewann Machine Gun Kelly einen Billboard Music Award als bester Rock Künstler. Grundlage dafür war sein 2020 veröffentlichtes, erfolgreiches Album „Tickets To My Downfall”, das als erstes seiner Alben auf Platz 1 der US Billboard Charts einstieg und sich seit
Release in 2020 immer noch in den Charts hält. In Deutschland hatte Machine Gun Kellys Album ebenfalls sein bisher erfolgreichstes Chartdebut, auf #11 der MC-Charts.

Die vorherigen Alben des Sängers haben in den USA alle Gold- oder sogar Platinstatus erlangt.
Machine Gun Kelly ist neben seiner musikalischen Karriere auch ein erfolgreicher Schauspieler, wie sein Mitwirken in „Bird Box“ an der Seite von Sandra Bullock oder auch seine Verkörperung von Tommy Lee in der Bandbiografie über Mötley Crüe zeigen.

Lost in the depths of space, AAKAARA takes listeners on a journey to the outer limits of the sonic universe with their latest album “Obsidian Promises”. Blending influences from punk and metal, EBM, architectural design and certain celestial objects, AAKAARA offers a fresh take on industrial techno.

This body of work is dark and brooding, full of haunting and thought-provoking soundscapes. Metallic and cold one moment, blisteringly hot the next. Pounding drums create searing rhythms, acid-drenched synths weave abrasive textures, and noise permeates the stereo field. Inspired by the mysterious and alluring world of black holes, the producer explores the beauty of extremes through sound. “If you know my work or me,” AAKAARA says, “it’s no secret that I have a spiritual connection to, and an obsession with, black holes.

It’s not about doom and gloom, but about beautiful extremes: infinite calmness, ultra-high energy, being deeply centered, and inevitable attraction.” “I try to sonify this in a naive sense. It isn’t an attempt at science; it’s a way for me to practice a makeshift spirituality about these entities through craft and functional dance music for people.”

Spirituality and stellar inspiration were essential to AAKAARA’s life during the three years they spent between Los Angeles and London, while writing this album. It provided a sonic home during a period of transition, when they didn’t feel at home and didn’t have access to a studio.

Everything was made “in the box” using only Ableton 10. After collecting guitar pedals and amplifiers for years, AAKAARA has shifted away from a hardware-focused mindset and is now more invested in the conceptual framework, narrative, and cultural implications of their work. Visuals also play an integral role in this maximalist experience.

The outer sleeve (front and back cover) conveys the “big ideas” visually, while the companion poster includes custom typography, detailed drawings, symbol design, and poetry. The poetry provides a textual counterpoint to the lyric-less music, written in parallel but later stages of the production process. The visual identity of this work is inseparable from the music, describing it in an integral way. It’s the other side of the coin, not simply an accompaniment. With its spiritual connection to the infinite and mysterious, “Obsidian Promises” harnesses the beauty and intensity of celestial entities as musical inspiration, transforming the science into mystical, narrative-driven sonic experience. Get ready for a ride through the unknown as AAKAARA’s latest offering takes you on a high-energy trip through the black hole’s playground.

Super Deluxe: The Signals Super Deluxe celebrates 40 years with a brand-new Hugh Syme cover & the 2015 remaster on CD for the first time. The album vinyl was cut for the first time at half-speed via DMM & pressed on 180g black vinyl for optimal vinyl quality with new Hugh Syme art in a premium tip-on jacket. A Blu-ray Audio disc features brand-new immersive Dolby Atmos & 5.1 surround mixes by Richard Chycki, the 2015 48kHz 24-bit stereo remaster, new animated visualizers for each song & 2 bonus music videos for “Subdivisions” and “Countdown”. Bonus items include a 40-page hardcover book with new song illustrations and unreleased photos from the Signals Tour, four 7-inches with new art, three lenticulars that transition from the original black & white band headshots into the original album “Digital Man” color headshots, four Signals Tour band lithos, Hugh’s original album cover sketch litho & a double-sided 24-inch by 24-inch poster featuring Hugh’s new art on one side and an outtake photo from the original album cover shoot on the other side. Picture Disc: The first-ever, limited edition Signals picture disc vinyl features brand-new Hugh Syme artwork to celebrate 40 years of the iconic album.


Das Rush-Album ”Signals” feiert 40-jähriges Jubiläum! Zu diesem Anlass lässt eine limitierte Neuveröffentlichung Sammlerherzen schneller schlagen: Am 28. April erscheint eine umfangreiche Super Deluxe Box mit einem brandneuen Hugh Syme-Cover und dem Remaster von 2015 erstmals auf CD. Das Vinyl des Albums wurde zum ersten Mal mit halber Geschwindigkeit über DMM geschnitten und auf 180g schwarzes Vinyl gepresst. Die Blu-ray-Audio-Disc enthält brandneue Dolby Atmos- und 5.1-Surround-Mixe von Richard Chycki, das 48kHz-24-Bit-Stereo-Remaster von 2015, neue animierte Visualizer für jeden Song und zwei Bonus-Musikvideos für ”Subdivisions” und ”Countdown”. Zum Bonusmaterial gehört ein 40-seitiges Hardcover-Buch mit zahlreichen Illustrationen, Original-Bandfotos und mehr. Das volle Paket aus 1LP, 1CD, BluRay, vier 7” Vinyl in der Super Deluxe Box ist limitiert - das absolute Fan-Item!