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70's psych rock supergroup from brittanny releases 1st lp

An album of 100% boundless energy featuring two drums, three guitars and a hammond organ

'Moments Remixes' began from a conversation with Jlin. We did an interview together for Talkhouse in fall of 2019, in season with the original Moments release on Unseen Worlds. Her poignant and effusive dialogue sparked the inspiration for us to do a remix together. That organically evolved into a full project idea. Xiu Xiu did the second remix in January 2020, and before things continued further - the pandemic was upon us. During the course of the pandemic, it evolved more, and organically became a more focused project for the isolation and lack of in-person collaborative environments/performance halls. All of but one remix were completed by 2021, and then refined and curated further over the following (four) years. The highlighted dialogue across the album is how these sparse, melodic minimalism of piano and vibraphone could manifest in a diversity of experimental sub-genres: electronica, IDM, avant-rock, drone/ambient. The careful curation and illustrative collaborators elicit the transportive 'new moments' and permeable qualities of the core compositions, that discover uncharted life in this project. (Michael Vincent Waller, October 2023)

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

Auf dem 2002 erschienenen Album "Some Boots" lotete das Bostoner Indie-Rock-Trio Karate die Tiefen ihrer omnidirektionalen musikalischen Erkundungen weiter aus. Jeder Akkord und jeder Beat vertieft die Nachdenklichkeit von Geoff Farinas impressionistischen Texten, die die emotionale Komplexität der Nostalgie erkunden. Die LP mit acht Songs ist in einem Klappcover untergebracht und enthält eine Replik des Textblatts.

This top-notch spiritual jazz album from Argentina will leave fans of Pharoah Sanders and John Coltrane astonished. Recorded in 1975 and still surprisingly off the radar, this is one of the deepest jazz albums from South America.

Inspiración is the meeting of two generations united by music: Ara Tokatlian and Guillermo Bordarampé, members of the influential 70s rock band Arco Iris (which Tokatlian cofounded with the now Oscar award-winning composer Gustavo Santaolalla), join forces with Enrique "Mono" Villegas, an admired jazz pianist who had been active since the 1930s.

Meditative, soothing and serene, Inspiración is music your soul yearns for.

Official reissue with sound off the master tapes, including a reproduction of the original 16-page booklet. With the blessing and support from Ara Tokatlian and Guillermo Bordarampe.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Snakes Don't Belong In Alaska have firmly established themselves as a prominent force in the underground UK psych scene, sharing the stage with some of the biggest names in the current generation of psych rock. Notably, they collaborated on a mesmerising album with the legendary Japanese psych artist, Junzo Suzuki, and have had the privilege of performing alongside esteemed bands like Hawklords, 10000 Russos, and The Myrrors, among others.

Originating from the vibrant city of Newcastle upon Tyne, SDBIA embraces an experimental genre non-conforming psych style, blending elements of stoner, kosmische, space rock, prog, and post rock. This captivating fusion of sounds creates a unique musical experience that continues to captivate audiences far and wide.

Their latest offering ‘Navegando Al Paraiso’ sees a slight change of pace from the band, but none less potent. As we’ve now become accustomed to with SDBIA, the band invite you on a transcendent musical journey, effortlessly blending psychedelic rock with waves of folk and post-rock. This album immerses listeners in a dreamscape where ethereal melodies ebb and flow like the tides. Each track evokes a sense of wanderlust, drawing inspiration from timeless musical traditions while pushing the boundaries of sonic exploration. Snakes Don't Belong in Alaska paint an otherworldly soundscape that invites you to lose yourself in the euphoria of musical and introspective discovery.

Available on super ltd edition green & clear vinyl, only 300 copies pressed.

Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
RESPECT.... JAH FLOYD.

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

Repress!

Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

The tom-tom heavy tribal rhythm of “Wela Wela” is one of the rawest, hardest cuts from the band Black Blood, a conglomeration of musicians from the central part of the African continent who were based in Belgium. The group had a breakout single in 1974 with the exotica-leaning “A.I.E. (A Mwana)” but never were able to quite capture the excitement that single generated with their follow up records. We can only guess that songs like “Wela Wela” were simply way too heavy for the pop tastes of the day, since the groove is a beast! — an acid rock tangent of the “Soul Makossa” riff that radiates pure energy. Mr. K aserts “It’s an incredible song to dance to, but was not very DJ friendly, and I never seem to hear other DJs play it... or even talk about it.” Originally debuted on his Grass Roots album, Mr. K's new rearrangement should change that, especially now that it's been made available on this hard hitting, portable 7-inch format.

Originally released the same year as Black Blood’s debut, “Komi Ke Kenam (Fish & Funjee)” was discovered and distributed by a small independent Brooklyn label that featured many other incredible African bands of the 70's. The song opens with a tough breakbeat (subtly extended by Mr. K on our release), and rumbles over a funky bassline and slicing wah-wah guitar before bursting out with a sax-led climax, a gritty get-down jam if there ever was one.

Both cuts have been remastered expressly for DJ play and are loud and clubworthy, in new extended edits that tease every last bit of funk from the originals.

Garage/punk rock informed by the likes of Iggy, Thunders and late ‘70s punk by former member of A Place To Bury Strangers and The D4. In 2022, Henry Rollins heard an early version of Dion Lunadon’s sophomore album Beyond Everything. He said it sounded like something that should be on In The Red Records. In The Red Records agreed. Now ITR are proud to announce the follow up, Systems Edge. Ten brand new original garage / punk rockers informed by the likes of Iggy, Thunders and late ’70s punk without sounding retro or by-the-numbers. This is seriously great stuff! Born in Auckland, New Zealand and now residing in New York City, Lunadon has played in various bands, most notably The D4 (who released two albums on the legendary Flying Nun label) and A Place To Bury Strangers.

Rock & Roll, indeed. Ruth Brown’s sizzling full-length debut — also known by its eponymous title — symbolizes what was exciting, fresh, invigorating, and raw about the burgeoning style in its halcyon days. Originally released in 1957, and reissued here in audiophile quality for the first time in partnership with Atlantic Records’ 75th anniversary, the set remains a testament to one of the most pioneering and talented vocalists to ever command a stage.

Mastered on Mobile Fidelity Sound Lab's renowned mastering system in California, pressed at RTI, housed in a Stoughton jacket, and strictly limited to 2,000 numbered copies, Mobile Fidelity’s 180g mono LP of Rock & Roll plays with an immediacy, vibrancy, and fullness that showcase the reach, power, and emotionalism of Brown’s voice. The sound of her support musicians — brassy horns, swinging rhythm combos, echoing backing vocalists, rollicking pianists, jaunty guitarists — is made clear and vivid, helping the upbeat fare to jump, juke, and jive with newfound energy and exuberance. In a related manner, Brown’s slower, more understated material crackles with an intimacy and passion that let you know you're in the presence of a woman who has lived what she sings. The longtime Rock and Roll Hall of Fame member deserves nothing less.

In an era dominated by big-throated vocalists, few — if any — came grander than Brown. The singer, whose repeat million-selling ‘50s success with Atlantic Records led many to call the then-indie label “The House That Ruth Built,” charted two dozen R&B hits in the span of a decade for the fledgling imprint. Rightly coined “Miss Rhythm,” the extroverted Brown put Atlantic on the national map, became the best-selling female musician of the ‘50s, and established a precedent that would ultimately lead to Grammy and Tony Awards. Her early works have lost none of their fire or flair.

Akin to many full-length LPs of its era, Rock & Roll doubles as a collection. Its 14 tracks comprise some of the more famous sides Brown recorded for Atlantic, beginning in 1949 with the all-time-great rendition of the ballad “So Long,” and continuing through 1956. After the song caught the public’s ear, the Virginia native briefly became known for her smoldering style with lovelorn material and torch songs, approaching them (see “Oh What a Dream,” “Old Man River”) with a combination of pained sadness and hardened resilience that had no contemporary equal. Encouraged to pursue the style by Atlantic Records co-founder Ahmt Ertegun, her R&B-driven material soon made her a constant chart presence.

Demonstrating what fellow legend Bonnie Raitt deemed “sex with class and dignity,” Brown merges blues and jazz, swing and gospel in electrifying fashion. She dares you not to move, dance, and get on your feet. A majority of Rock & Roll explodes with uptempo runs and jaunty readings of hot-blooded R&B numbers. Sweaty and sultry, bawdy and bold, Brown eclipses the anthemic blare of the saxophones and joyful clatter of the 88s, singing with a slight catch in her voice and hurricane-gale force that threatens to blow the roof off whatever room her voice occupies.

Evidence abounds. Listen to her prod the band and encourage the band members to blow a fuse on a sizzling “Hello Little Boy,” complete with cries and wails; stretch her phrasing to the heavens on the swaying “Wild Wild Young Men,” laden with romp-and-stomp beats; plead and persuade on the snaking “5-10-15 Hours,” which flips the script on the age’s notions of dominance; use her raspy tones, high notes, and breath control to mesmerizing effect on the smash “Mama He Treats Your Daughter Mean,” recorded with a group led by Ray Charles; survey the scene and take charge on the steaming “As Long as I’m Moving”; and tap a classy albeit flirtatious vein on “Lucky Lips,” which dented the pop charts as her first crossover hit.

Throughout Rock & Roll, Brown knows the lyrical connotations and spirited architecture of the songs inside-out. Her assertive voice — never harsh, strident, or false — is the epitome of the passionate desires and sonic strains that turned into nascent rock ’n’ roll. Brown played a pivotal role in helping the style develop, the record a timeless reminder of a lasting legacy that will never be forgotten.

The cheekiest band in the land is back with ROCKMAKER, The Dandy Warhols' 12th studio album. Produced and recorded by the band at their studio/funhouse The Odditorium in Portland, OR, ROCKMAKER sees the "Bohemian Like You" hitmakers celebrate their 30th year together with a sprinkle of glitter on their grime. Accompanied by guests Debbie Harry, Slash, and Pixies' Frank Black, The Dandy Warhols wrangle paranoia, untangle anxious discontent, and lust after life while the dance grooves go deeper, heady drones get weirder, and riffage fit for bong rips hammers. ROCKMAKER is the Dandy's clearest statement yet, at no sacrifice to their outré leanings. This is the sound of outsider alt-psych fixtures looking in as the walls come down.

Rockmaker by Dandy Warhols, released 15 March 2024, includes the following tracks: "Teutonic Wine", "I'd Like To Help You With Your Problem (Feat. Slash)", "Root Of All Evil", "Love Thyself" and more.

This version of Rockmaker comes as a 1xCD.

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

Body Parts is the debut studio album by Prophet Posse, a collaboration side-project of Three 6 Mafia with members of its then-label, Prophet Entertainment. The Prophet Posse group was known as a larger, “offshoot” version of Three 6 Mafia, as it included each member of Three 6 Mafia as well as all the artists signed to Prophet Entertainment. All the artists featured on the album were Prophet Entertainment artists with the exception of guest act Dayton Family.

Belgium based Boskat is a super-energetic duo that seamlessly blends seriously impressive riffs reminiscent of Rage Against The Machine and Billy Talent with a crushingly virtuosic live show and a great sense of humor. Now, it's time for their debut album 'Welcome to Planet Urmit,' set to release on March 15, 2024 on Suburban Records.

Although known for their energetic virtuoso rock duo performances, their first full-length album also explores various vibes and genres. "The goal was to create a record that doesn’t get boring - I think we succeeded! You can hear characteristics from (post)grunge, hip-hop, nu-metal, punk rock, prog rock… and more. There are Easter eggs for every rock fan!" frontman Vincent explains.

The Chronicles Of Father Robin ist eine norwegische Prog-Rock-Supergruppe, deren Mitglieder von den norwegischen Symphonie-Prog-Masters Wobbler, den immer undefinierbaren Tusmørke, den erfahrenen Post-Rockern The Samuel Jackson Five und dem schwer fassbaren Prog-Juwel Jordsjø stammen. 'The Songs & Tales Of Airoea', an dem seit 30 Jahren gearbeitet wird, ist ein zusammenhängendes Dreifach-Konzeptalbum mit insgesamt 18 Songs, die über einen Zeitraum von drei Jahrzehnten in einer alternativen archaischen Welt angesiedelt sind. Die erste beiden Alben, 'Book I' & 'Book II', erscheinen nun als CD und LP. Durch lange Jam-Sessions und fein abgestimmte Arrangements entwickelte die Band ein fortlaufendes System, in dem jeder Song mit den anderen verknüpft ist. Ganzheitliche Impulsivität und Ideen, altruistische Freundschaft, Musik, Fantasien und ein schlüssiges Konzept.
Beginnend mit dem sakralen und atmosphärischen Over Westwinds führt 'Book II' weiter auf eine dynamische musikalische Reise durch üppige und abwechslungsreiche Klanglandschaften, die Visionen der goldenen Ära des Progressive Rock hervorrufen. Mit dem geschmackvollen Einsatz verschiedener Instrumente wie Flöte, Mellotron und Glockenspiel und alles verpackt in einer dynamischen und organischen Produktion, sind beide Alben Juwelen, die es für jeden Fan von Progressive Rock zu entdecken gilt.
'Book III' erscheint hoffentlich zeitnah.

One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analogue tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo."

Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.

"The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room."
—Jeff Dorgay, TONEAudio

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.