Search:britta

Straight from brittany, the Floorfillers (thomas & matteo) have devoted a cult since their earliest childhood to Crydamoure, Roulé, DJ Sneak, Paul Johnson and all the 90s french touch.

Recent favorite of skylax records, they are for us more the turbulent little brothers of Daft Punk & Mr Oizo, their sound is incredibly rudimentary and at the same time so close to the ideals of house music which have disappeared from radar screens for at least the last 5 years (thanks to these IG's DJs a$$holes), they are the next generation, they are the hope.

All may not be dead. Their 12 inch is and will be a deflagration on the dancefloors. A must.

Tape

Peter wird in der Rocky Beach Highschool unfreiwillig Zeuge eines dubiosen Telefonats. Hat seine Lehrerin Amanda Blunt ein dunkles Geheimnis? Als die unscheinbare Frau dann auch noch verdächtige Utensilien in ihr Auto packt und losfährt, nimmt Peter die Verfolgung auf. Natürlich nicht ohne seine beiden Freunde zu informieren. Die drei ??? begeben sich auf einen gefährlichen Roadtrip durch die verlassene Prärie. Hoffentlich wird ihnen diese Fahrt nicht zum Verhängnis ... Trackpunkte:01 Das Grauen in Pink02 Entführung03 Warnung04 Sacramento05 Stichwort: Wahrheit06 Gleichungen mit drei Unbekannten07 Jede Menge Geld08 SchlangenjagdGesamtspielzeit: 01:16:57Sprecher:innen und Mitwirkende:Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichAmanda Blunt Katy Karrenbauer Quinn Till Hagen Lyn Henrike FehrsOpossum Reinhold KammererNancy Britta SteffenhagenOdo Sebastian KönigDimwitt Achim SchülkeTelefonstimme Nico KönigColtstone Peter G. DirmeierModeratorin Petra KleinertSheriff Konstantin GraudusProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Betty George, Alexander Körting, Constantin StahlbergCover-Illustration: Silvia ChristophDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Kari Erlhoff, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2023 Franckh-Kosmos Verlags-GmbH & Co. KG. Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.(P) & © 2023 EUROPA a division of Sony Music Entertainment GmbH

Peter wird in der Rocky Beach Highschool unfreiwillig Zeuge eines dubiosen Telefonats. Hat seine Lehrerin Amanda Blunt ein dunkles Geheimnis? Als die unscheinbare Frau dann auch noch verdächtige Utensilien in ihr Auto packt und losfährt, nimmt Peter die Verfolgung auf. Natürlich nicht ohne seine beiden Freunde zu informieren. Die drei ??? begeben sich auf einen gefährlichen Roadtrip durch die verlassene Prärie. Hoffentlich wird ihnen diese Fahrt nicht zum Verhängnis ... Trackpunkte:01 Das Grauen in Pink02 Entführung03 Warnung04 Sacramento05 Stichwort: Wahrheit06 Gleichungen mit drei Unbekannten07 Jede Menge Geld08 SchlangenjagdGesamtspielzeit: 01:16:57Sprecher:innen und Mitwirkende:Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichAmanda Blunt Katy Karrenbauer Quinn Till Hagen Lyn Henrike FehrsOpossum Reinhold KammererNancy Britta SteffenhagenOdo Sebastian KönigDimwitt Achim SchülkeTelefonstimme Nico KönigColtstone Peter G. DirmeierModeratorin Petra KleinertSheriff Konstantin GraudusProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Betty George, Alexander Körting, Constantin StahlbergCover-Illustration: Silvia ChristophDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Kari Erlhoff, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2023 Franckh-Kosmos Verlags-GmbH & Co. KG. Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.(P) & © 2023 EUROPA a division of Sony Music Entertainment GmbH

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

2023 Repress

Talismann dominates the assault with it's fourth release, marching towards imminent victory. Haunting soundscapes coming from the filthiest trenches, sudden rhythmic strikes with such brutal force that it will leave the auditory senses shell shocked...

Dwight Trible announces new album “Ancient Future” out 17th March via Gearbox Records + Shares new single “Truth” Album features special guests Kamasi Washington, Georgia Anne Muldrow, Greg Paul, Megashia Jackson, G. E. Stinson, André Gouché, John Beasley, and Rene Fisher Today, the inimitable jazz vocalist, activist, and nominal godfather of the LA jazz scene, Dwight Trible, returns with the announcement of his new album “Ancient Future”. Out 17th March via London jazz aficionados and analog specialists Gearbox Records, the new record follows his critically acclaimed album “Mothership”, which was released in 2019 and saw him collaborate with the likes of Kamasi Washington, Mark de Clive-Lowe, Miguel Atwood-Fergus, and more. On “Ancient Future”, Trible collaborates once again with Kamasi Washington (saxophone), as well as lauded LA multi-instrumentalist, Georgia Anne Muldrow (vocals), who is signed to Brianfeeder and has previously worked with the likes of Madlib, Denzel Curry, Mos Def, Blood Orange, and Brittany Howard. Elsewhere, the record also features Grammy nominated pianist, John Beasley; Kamaal Williams touring drummer Greg Paul; gospel bassist André Gouché; percussionist and backing vocalist, Megashia Jackson; LA guitarist G. E. Stinson; and percussionist Rene Fisher.

Pauline Marx, formerly of the fantastic duo La Fureur de Vouivre, seems like a being from another time and place; namely, an escaped marauder lurking in the forests of a Bruegel painting and integrating the surreal flora and fauna of a Boschian creation into the scenery and lore of deep Brittany. Her invented mythology is loaded with murky rituals and contorted mantras, backed by the surprising sounds and textures of terrains so earthly and so unreal.

The Devil at the Crossroads

Where do you think you come from? Where do you think you're going? Lasciate ogni speranza, voi ch’entrate: you, with the noodle to the four winds, who pass the threshold of this disc, you better leave all hope there, and glide in the poisonous footstep of the devil your guide.

Where do you think you come from? The mountain is no longer just the mountain; after your passage, it will no longer even be a mountain. Like the whole landscape, it will have been eaten, sauced by invisible leeches. Your nostalgia for the ground and your thirst to find the source will have only discovered a forest of vain words and foul water. Where do you think you're going? At the crossroads, the world is consumed in the previous future. Only the devil will know how to make you overcome the disgust of traditions, and only the love for the devil will give you enough vim to reach your goal: a village, perhaps, but which belongs to no one, a haven to your excessiveness .

The dark tradition to which this game of ternary trampling belongs, like the rhythm of a heart in tune with the inverted world, has no country and no assigned time. Rather a topology of Eve awakened after a thousand-year sleep, an idiosyncratic and possessed reading of our common humus, made up of stories composted in the limbo of the past, of songs captured in extremis vitae and rebus in the privatized antechambers of death.

What does she tell us about? Of our automobile and in love roamings, of the porosity of the membranes that separate beings and things, of the constant inversion of signs. The seventeen stages of this short journey, where intertwine the throbbing of objects, blown horns and rubbed horsehair, form the map of a country never to be found, ours, where only the voice of an old child and the disgusting devil's poisonous charm can guide us.

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

Dickie Landry & Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.

The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one

For Fans Of... Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard. Debut 45 on Colemine Records. Featuring Alanna’s most-streamed track ‘Fall In Love Again’. Produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen. Tracks: 1. Fall In Love Again 2. Fall In Love Again (Instrumental)

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

This is international pop underground vol. CXLIXI. Almond Joy Oh Henry! is a co-release between Perennial and K. West Coast Fog Pop USA. Almond Joy are the celestial comet heading the West Coast Fog Pop Revival. Featuring a cohort of Bay Area scene stars Jordan Almond (Rays, The World), as well as Muzzy Moskowitz (Froogie’s Groovies, Color Green), Tika Hall (Warp), Staizsh Rodriguez (Children Maybe Later), Britta Leijonflycht (Rays, Galore) , and Pat Thomas (Cool Ghouls). Recorded by Jordan Almond, mixed by Maxwell Mericer with additional mixing to 1/4” tape by Capt. Tripps Ballsington in Olympia WA. Mastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground series. Look for the video for singles “Candy”, “San Francisco”, and “Fosta/Sesta” And a show or two....Whatever happens it is quite assuring that whatever these times may bring bands can still put out music as good as this EP. 600 vinyl copies. 4 tracks 45RPM.

Tracklist 1. Oh Henry! 2. 100 Grand 3. San Francisco 4. Candy

For Fans of Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard etc. comes this 45 on Colemine Records, featuring Alanna's most-streamed track "Fall In Love Again", produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

The Ice Warriors is the 39th story arc of the series Doctor Who consisting of 6 parts and ran in the 5th season. Parts 2 and 3 are considered lost and were animated for DVD release in 2013.

Plot: The TARDIS materializes on Earth, where humanity is fighting a new ice age. At Brittanicus Base, scientists are trying to use an ionic device to combat the advance of a glacier. When a giant humanoid creature is discovered nearby in the perpetual ice, additional complications arise as the ice warrior comes to life after thawing. It is the captain of a spaceship from Mars that crashed centuries ago. Varga also wants to revive his comrades and conquer Earth, since life is no longer possible on Mars. The Doctor and his companions must not only prevent Varga's plans but also save the base's crew from the approaching glacier....

On three LPs in a deluxe box set, fans can now relisten to the four surviving original TV episodes from 1967. The 140 gr. LPs come in the special color Molten Ice vinyl. Elaborately illustrated sleeves on top.

Sixteen musical vignettes of electrifying emotion at the crossroads of ambient, modern synthesizer productions and organic orchestral music experimentation, which tint French director Jacques Audiard's new feature film with the illuminated glow of a whole new generation.

Textextext - (add your write up)

When Jacques Audiard contacted him, Rone was just a few weeks away from receiving the Cesar award for best film score for his very first soundtrack "Night Ride", the highest honor in French film for a composer.

Throughout his career, the French director has been able to surprise his audience by playing on the codes of "genre films", while remaining faithful to the aesthetics of "art film". His cinema is both profound and entertaining, sophisticated and accessible, dark and dreamlike.

"Jacques' cinema is physical, sensual, modern", Rone says about the director, "when he asked me to do the music for Paris, 13th District , I immediately accepted, without seeing any images or reading the script. He is simply one of the greatest contemporary filmmakers."

His new feature film deals with youth in general and their sexuality in particular in a way no one may have done before. The story is based on four young characters and their existential questionings, whose destinies intertwined against the backdrop of the Parisian "Olympiades" high rises in the 13th arrondissement.

But time was already running out, as the film was set to be nominated for *Cannes' Palm D'or* at the rescheduled edition of the festival in July 2021. Between the releases of "Rone & Friends" and his remixes for Agnes Obel, Go Go Penguin and Jehnny Beth (who also plays a role in the film), the producer decided to lock himself away in in his brand-new Isola Studio in Cancale, French Brittany. He also invested in a large screen on which he projected loops of the film and started manipulating his gear. "I had Miles Davis in mind and the way he composed "Ascenseur pour l'échafaud" by improvising with his band while watching excerpts from the film."

After a first conclusive test on three scenes of the film which allowed Rone to showcase the skills he had developed in composition in various musical fields, a relationship of trust developed between the musician and the director, which resulted in over 45 minutes of Rone's music used for the final cut.

"There was a lot of music to be made in a short time, but the talks with Jacques were very stimulating. He had a fairly precise idea of what he wanted, while at the same time, I think, having the desire to be surprised, or even a little shaken up."

If the black and white aesthetic recalls the great hours of the "Nouvelle Vague", Rone´s music gives a new layer to the film which fits resolutely with 2020's zeitgeist.

This second soundtrack by Rone is a sonic urban adventure in itself. As it is used in the film, colouring in the lives of Audiard's protagonists, it will have the same impact on us, the listeners, in our own everyday lives.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

. A true child of the seventies, Sojo wished to record and mix his new material straight to tape, using vintage analog equipment with according methods of work. This was made possible at Studio Kerwax, located in the heart of Brittany. A tight quintet gathered with sound engineer Christophe Chavanon to produce the warm timeless sounds of Silvatica, marking the welcome return of drummer Earl Harvin (Tindersticks, The The, Psychedelic Furs). New recruit Erik 'Raggy' Sevret (from French dub masters Zenzile) works his sax magic, breathing further life into Sweet Gum Tree's lush sonic forest.

Nate Smith Recruits Special Guests Vernon Reid, Brittany Howard, Kokayi, Joel Ross, Michael Mayo, Stokley, AmmaWhatt and Regina Carter for Kinfolk 2, the successor to his Grammy-nominated debut.
Kinfolk 2: See the Birds is the highly anticipated follow-up to the 2017 Grammy-nominated album Kinfolk: Postcards From Everywhere. Featuring the diverse and all-star talents of Brittany Howard, AmmaWhatt, Joel Ross, Kokayi, Michael Mayo, Regina Carter, Stokley and Vernon Reid, Kinfolk 2: See the Birds is the inspired and emphatic album that exemplifies Nate's artistry as one of the most exciting, dynamic and innovative drummer-composers of his generation, adept across multi-genres and styles. Taking inspiration from his teenage years spent absorbing the diverse and eclectic riches of Prince, Michael Jackson and Living Colour. Kinfolk 2: See the Birds is a multi-faceted jewel and is set to be one of the most significant albums of 2021. Nate is one of the most important artists in the progressive jazz world (Kamasi Washington, Makaya McCraven, Shabaka Hutchings, Robert Glasper, and Nate Smith) He's a torchbearer of progressive music / "one of the faces of progressive jazz" His profile / reach is significantly larger than that of his peers (larger than most successful pop/mainstream artists too) Nate accesses wider audiences by seamlessly operating in the jazz and mainstream/pop worlds. Nate operates in a unique space within the progressive world because of his drumming, his collaborations with Brittany Howard and the Fearless Flyers (Vulfpeck spinoff), his recording work with famed producers Dave Cobb and Mike Elizando, and his talent as a composer/arranger/producer. He also brings a "grown" R&B element to his music the Makaya, for example, does not. Nate Smith is an icon. He represents where jazz as a genre is going and is easily one of the most important artists you can cover in 2021/2022.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

Muscle Shoals singer-songwriter Dylan LeBlanc releases his new EP,
‘Pastimes’, a self-produced collection of covers of songs from Glen
Campbell, Bob Dylan, the Rolling Stones, Led Zeppelin, Buffalo
Springfield and JJ Cale that inspired him to create his own acclaimed altcountry sound.
 ‘Pastimes’ is released on orange coloured vinyl.
 LeBlanc shared his thoughts about his cover of Led Zeppelin’s ‘Going to
California’: “When I was 15 years old I got my first paying gig at a local
coffee shop called Juri’s,” says LeBlanc. “I remembered this girl that sat
behind me in class and I bonded over Led Zeppelin ‘IV’. I remember I
had gotten a Led Zeppelin box set that year for Christmas, and her
favorite song was ‘Going to California’. I rushed home to learn that song
for her and spent hours in my room at my grandmother’s house where I
lived at the time so I could play it for her and impress her. This song will
always hold a special place in my heart. I love this record and this era of
music that I think will always remain untouchable forever and always.”
 Each song was chosen for its deeply personal impact: JJ Cale’s
‘Sensitive Kind’ takes LeBlanc back to the smoky dive bars his father
would bring him along to as a child. Buffalo Springfield’s ‘Expecting to
Fly’ reminds him of teenage joyrides, speeding through the country and
listening to music to escape life’s harsh realities. He learned the art of
storytelling through songs with the Rolling Stones’ haunting ‘Play With
Fire’ and Bob Dylan’s ‘Blind Willie McTell’ - a track that he compares to
reading a Southern Gothic Faulkner novel. And Glen Campbell’s ‘Gentle
on My Mind’ is a song he remembers from his early childhood, when his
grandfather, also a guitarist, would throw parties where friends would
gather to drink and sing and forget their troubles.
 ‘Pastimes’ was recorded at Fame Recording Studios in Muscle Shoals,
live and with as few takes as possible in order to capture a sense of
authenticity. Says LeBlanc, “I feel like music is nothing more than a
spiritual endeavour to widen the horizons and heighten the senses of the
things inside of everyone that sometimes feel unreachable.”
 Dylan LeBlanc has spent the last decade releasing four acclaimed
albums, winning praise for his arresting alt-country style, collaborating
with the likes of Emmylou Harris and Brittany Howard, and sharing
stages with heavyweights like Bruce Springsteen and Lucinda Williams.
 “One of modern country’s most interesting voices, in both senses of the
term.” - Uncut
 “Sublime voice and evocative songwriting.” - Nashville Scene

Sound & Color" ist das zweite Studioalbum der amerikanischen Rock-Soul-Alternative Band Alabama Shakes. Ursprünglich erschienen 2015 feiert die Band um Stimmwunder Brittany Howard nun den 6-jährigen Geburtstag ihres 4-fach mit einem Grammy ausgezeichneten Werk mit einer Special Deluxe Edition. Die Edition hat ein neues Artwork und enthält 7 Bonustracks. 1. Sound & Color 2. Don't Wanna Fight 3. Dunes 4. Future People 5. Gimme All Your Love 6. This Feeling 7. Guess Who 8. The Greatest 9. Shoegaze 10. Miss You 11. Gemini 12. Over My Head 13. Drive By Baby 14. Joe 15. Someday 16. Don't Wanna Fight (Live from Capitol Studio A) 17. Future People (Live from Capitol Studio A) 18. Dunes (Live from Capitol Studio A) 19. Over My Head (Live from Capitol Studio A)

Welcome this new label from brittany... opening with a raving dancefloor hardcore jewel.

What is Hardcore ? To Start with an ambient track (ambient core ^^)

HIRAES – die neue Melodic-Death-Metal Gewalt der Ex-Mitglieder von Dawn Of Disease
Nach der Auflösung von Dawn Of Disease steigt jetzt die furiose Melodic-Death-Metal-Gewalt HIRAES
mit ihrem Debüt wie ein Phoenix aus der Asche! Die deutsche Formation – bestehend aus Lukas Kerk,
Oliver Kirchner, Christian Wösten, Mathias Blässe und der stimmgewaltigen Britta Görtz (Critical Mess,
ex-Cripper) – veröffentlicht am 25. Juni 2021 ihr atemberaubendes, heiß ersehntes Erstwerk Solitary über
Napalm Records. Der erste Longplayer von HIRAES liefert eine aufregende und mitreißende MelodicDeath-Metal-Wucht und zeigt, dass der Fünfer schon jetzt eine ganz eigene, Identität hat. Das Konzept
der neu formierten Band basiert auf einer alles zerschmetternden Vocal-Attacke, intensiven Melodien und
elektrisierendem Gitarrenspiel, angeführt von Gitarrist Lukas Kerk als Haupt-Songwriter. Solitary feuert
ohne Zweifel den Startschuss für eine vielversprechende Zukunft ab! Denn dieser massive Melodic-DeathMetal-Angriff lässt keinen Raum für Schwächen und serviert eine aufregende Interpretation des Genres mit
hymnischen Melodien, mitreißendem Schlagzeug- und Gitarrenriffing sowie atemberaubenden Hooklines.
Gekrönt von der unverwechselbaren und vielseitigen Performance von Britta Görtz ist diese kraftvolle, neue
Formation mit ihrem Debüt ein Muss für Fans von Bands wie Insomnium, At The Gates, Arch Enemy und
Amon Amarth. Solitary wird auch als streng limitierte 1 LP Gatefold Silver erhältlich sein.

I Be Trying might be the title of the new record from two-time GRAMMY nominee Cedric Burnside, but it's also a mission statement in an era when plenty of us have discovered what "the blues" really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world. Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums-a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi. Produced by second-generation Memphis soul trailblazer Boo Mitchell ("Uptown Funk") and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.

I Be Trying might be the title of the new record from two-time GRAMMY nominee Cedric Burnside, but it's also a mission statement in an era when plenty of us have discovered what "the blues" really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world. Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums-a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi. Produced by second-generation Memphis soul trailblazer Boo Mitchell ("Uptown Funk") and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.

After severals EPs on labels such as Lumière Noir, Kill the DJs or Bahnsteig 23, here is the first album of french duo Il Est Vilaine, infused with a "Yellow Magic Orchestra-ish" touch, rooted in the french musical landscape.

A road trip in Brittany as a red thread, the two hooligans of Il Est Vilaine revisit Kawaii pop, crazy rock like DEVO and Detroit techno with a surprising coherence. An album long matured and awaited by the band's fans.

Il Est Vilaine aren’t Bretons, but they sure are tricksters. The Francophiles among you might have caught on to the corny pun in their name (beating a certain presidential candidate to the punch all while turning the name of the pastoral Ille-et-Vilaine region into, literally, “he’s a nasty woman,”) but the real takeaway is that these born-and-bred Parisians don’t take themselves too seriously – especially in an era in which there is much too much of that happening.
It was in 2014 (and on Dialect Recordings) that Florent and Simon tossed their debut 12” into the ring, the rightfully named Scandale – a tight little bombshell released that roused the electronic music scene out of its complacent little catnap.
So there we had it, two outcasts refusing to eat at the same table as the tech-house scene queens, serving up three whiplash-on-the-dancefloor cuts drenched in sweaty hedonistic disco and wrapped in a battered motorcycle jacket (with a gooey post-punk-pop core for good measure.) A clear mission statement right out of the gates, watermarked with mystical incantations and throbbing with rock ’n’ roll’s primitive drive. Everything and the kitchen sink, and a bag of chips – an invitation to just let lose that’s even better than the sum of its parts.

-LTD. 180G RED VINYL-

Jonathan Bree's fourth album `After The Curtains Close' sees the producers trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's `sleazy' album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child like falsetto. Opening track `Happy Daze' is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lovers arms. First single `Waiting on The Moment' has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable 80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres ('Heavenly Visions', 'Kiss My Lips' feat Princess Chelsea, '69' feat Crystal Choi) and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes, also evident on 'Meadows in Bloom', a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer, in which Britta Phillips (Luna) takes lead vocal duties.

Banger techno from brittany !

Sabaturin is Charles-Émile Beullac (Galerie Stratique, Canada) and Simon Crab (Bourbonese Qualk, United Kingdom). In the spirit of old school tape exchanges that resulted in musical collaborations developed over long periods of time but informed by the infinitely easier processes of the digital age, "Kenemglev" was assembled without the musicians ever meeting.

The title "Kenemglev" means "consensus" in Breton, something which quite naturally had to be achieved between both musicians. The other consensus was a sort of virtual middle ground symbolized by the Breton language, particular to a geographical area (Brittany) that both agreed would stand for a neutral meeting point between their respective native languages and, consequently, cultures. All titles are Breton words and the name Sabaturin ("standing on one feet", "to be off-balance") expresses mainly Charles' excitement: "Simon's bold approach has been some kind of a shock therapy for my music".

The sleeve was designed by Simon Crab, using a Chladni pattern simulation based on specific pitches. Looking like stained glass, it sort of reflects the way the music is presented: although including 9 titles, the album's tracklist flows uninterrupted on each side of the vinyl, semi-mixed, blended.

Detailed electronic ambience, glitches, loops and tiny details are augmented by a sort of signature rhythmic grid we recognize from "My Government Is My Soul"-era Bourbonese Qualk. It never settles into a formula and so the music remains loose, as much Mille Plateaux as classic 80s industrial shortwave-sampling or dub, rolled into one same entity, touching base with the gorgeous glitch dub "Morgouskus". This concludes a gentle and discreet album that doesn't require the validation of being associated with any of the current keywords in the electronic music scene.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before