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"prog stalwarts deliver the goods" KKKK Kerrang!
"an album of Muse-like, slow burning guitar anthems" Rock Sound
"TPT take the baton of Pink Floyd & run with it, with the same dream- like atmosphere on the cusp of a nightmare." TERRORIZER
"the sound of a band reaching the height of their powers" Classic Rock "a high- class, mature, up to date & consistently melancholic album in between Porcupine Tree & Muse...warm, popular, contrived" Metal Hammer (DE).

The Pineapple Thief are one of the leading lights of Europe's experimental rock domain, led by post-progressive mastermind Bruce Soord, the band have built an incredibly loyal fanbase over the past 23- years through extensive touring & consistently lauded recordings. Founder Bruce Soord started The Pineapple Thief as an outlet for his music back in 1999 & has since released over 15 studio albums.

'All The Wars' saw frontman Bruce Soord mature as a songwriter & grow in confidence, allowing him the use of a 22- piece string section & a choir. Soord explains, "no expense has been spared regarding the production of this record but at its heart it's still a rock record. It's very heavy in parts & very delicate & beautiful in others." Following Storm Thorgerson's cover for 'Someone Here Is Missing', the
artwork for this album features images created by the award- winning
photographer Mark Mawson as part of his 'Aqueous' series, which was projected onto Buckingham Palace as the background to Paul McCartney's performance of 'Magical Mystery Tour' during the diamond jubilee celebrations.

Kscope are now proud to present a newly remastered LP edition of 'All The Wars'

New INDEX:Records transmission comes courtesy of Texan vibist Gi Gi. Trodding his own path of introspective, nu-age-infused ambient scapes and trip-hop-laced downtempo divagations, Gi Gi eases us in a distinctively soothing headspace. A self-driven, immersive audio bubble engineering a polychromatic mix of organic field-recording, exotic dub shades, lushly textured envelopes and smooth loungey jazz accents.

From the A1, “The Lower”, a steady-churning combo of retro-stepping UK dynamics, 90s-schooled atmospheric dub and low-slung, LA beat-style swagger, down to the verbed-out summer pop of “Sinews” featuring Hysterical Love Project, Gi Gi puts on a riveting synthesis of seemingly distant varietals.

On “Maiolica”, the mystique-imbued power of drums and shadowiness of the bass collides with the faux-organic vibrancy of singing robot birds; “Pyxis Glint” shows off an ambiguously feverish ASMR-like temper with its tightly woven web of chimey Andean melody and straight out Rephlex-fashioned escapism, whereas “Palm Slick” heads for further exhilarating heights through Hassellian brass flights a la “Blues Nile" and breaksy off-piste, all set at buckling a few knees along the way.

A full-fledged, soulful trip-hop number disguised in matching neo-vintage camo, “Lilted Song” treats us to a fulfilling blend of bleached pads and FX-laden slo-mo percussions swaying with a strong couldn’t-give-a-damn attitude. Gi Gi coming up with the mind trip.

Deprived of sanity, Paul Régimbeau aka Mondkopf found new territories of expression with »Spring Stories«, a collection of post-rapture moods full of glorious chaos, ready to absorb and re-ignite all that is worn.

As a phoenix raising from the ashes, »Spring Stories« captures the earth in full bloom. Darkness & Insanity looses it´s grips as the roots and fresh leaves creates a slow dance towards the sun. Similarly sine-wave drones move around exploding electric guitar improvisations as new light beams on shadow cast corners. The album feels like a 60ies jam set in the post-world psychedelic underground. Heavy, absurd, beautiful and ready to sooth burnt out, depleted minds. Paul has citied that he´s affected as much by folk improvisors such as Master Wilburn Burchette & Robbie Basho as well as the doom drone of giants Earth & Sunn O))). Spring Stories invokes on these, while feeling like a personal blow-out, coming right from the core. Touching and grand, like spring itself.

The album also features Frederic D. Oberland on two tracks playing variously Duduk & Alto Saxophone. Lastly, The Necks drummer Tony Buck shakes & rattles all over the final - and seriously epic - piece “Continuation”, as the world aligns while the sun rises over its near-dead shape.

Demon Records presents a new collection of 23 classic alternative anthems, brought
together on vinyl for the first time, exploring a golden era for American guitar music

Across the two 140g vinyl, highlights include tracks such as - Sonic Youth ‘Teen Age Riot’, R.E.M. ‘The One I Love’, Soundgarden ‘Black Hole Sun’, Pixies ‘Debaser’, The Flaming Lips ‘She Don’t Use Jelly’, and many more huge tracks.

Pressed on two 140g vinyl, housed in printed inner sleeves.

An essential collection for any alternative music fan!

After more than 20 years, Band Of Brothers is still considered one of HBO’s most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. The series is a war drama miniseries based on historian Stephen E. Ambrose’s 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day

The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves.

Revisit the Band Of Brothers score with this deluxe reissue on smoke- coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a gatefold with a cast picture on the inside, and includes a large poster and insert.

Fred und Luna hatten schon immer eine Vorliebe fürs Symmetrische. Das zeigt sich an den Motiven ihrer Albumcover und auf dem aktuellen Album nun auch an der Länge der Musikstücke, die sich allesamt an der Fünfminutengrenze bewegen.
„Im Fünfminutentakt“, so der entsprechende Name ihrer neuen Schöpfung, ist „Fred und Lunas“ vierter Longplayer, eine erlesene Auswahl zeitgemäßer Instrumental- und Gesangsstücke mit einem sensiblen Gespür für repetitive Rhythmen, bezaubernde Melodien und hypnotisierende Klänge.
Besonders hervorzuheben sind das in drei Sprachen gesungene Stück „Es ist so schön“ ? mit seinem sensiblen Gespür für die Freude, seine Liebsten nach Monaten der pandemiebedingten Einsamkeit endlich wiederzusehen ? und das dancefloororientierte „Tanz mit mir“, das erahnen lässt, wie sehr selbst computerhafte Stimmen Sehnsüchte und Träume erwecken können.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des Musikers, Poeten und Foto- und Filmemachers Rainer Buchmüller.
Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Namen „Fred und Luna“ moderne musikalische Abenteuerreisen mit einer Kombination aus sich wiederholenden Beats, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es wahlweise nennt: Elektrokraut beziehungsweise Krautelektro.

Unterwegs mit Fred und Luna (Das Luna-Prinzip)
Weil die beiden Mannequins Fred und Luna ihr Modehaus nie verlassen, übernimmt Rainer Buchmüller unter dem Pseudonym Sugar Ray Buckmiller bei Liveshows die Rolle von FRED.
LUNA hingegen erfindet sich von Konzert zu Konzert neu und wird von einem oder mehreren kurzfristig ausgewählten, wechselnden Musikern vertreten. So wird jeder Auftritt zu einem überraschenden und einmaligen Ereignis für das Publikum und die Musiker selbst.
Achtung: Die nächste Luna könntest du sein!

Buckle up for Dubblack002, this time courtesy of Italian rising star TAGLIABUE. The Milanese DJ & producer is a an ideal ambassador of the label’s ethos, with his deep and mysterious electronic attitude. The opening track ‘Odissea’ lays the groundwork for the record to rise, with a cryptic intro which breaks out in a progressive detonation, referring to a late 90s/early00s sound but interpreting the scenario with a modern, actual twist.

‘Baraka Trance’ keeps the standard high and, as the title suggests, offers the artist’s POV on the Trance matter with a high-tempo, neatly arranged beat and a slightly acid bass-line, both creating a constantly evolving eight minutes-long acoustic journey. ‘A Oltranza’ slows the pulse but doesn’t decrease the pressure with captivating rhythmics perfectly blended with an avant-garde harmonic section; a complex but never baroque arrangement that constantly holds the listener on the rope. Three tracks with unique features, presenting a vast array of musical influences all merging to produce a cohesive, new and unheard record. Music written and composed by Tagliabue, project curated by GNMR.

1996. Eure ärzte aus Berlin machen jetzt Ernst. Also: Quatsch. Ein Konzeptalbum. Also: „Konzept“- Album. Nur ein halbes Jahr nach ihrem immer noch anhaltenden Supererfolg „Planet Punk“. Es ist zum
Haare raufen.

„Le Frisur“ steht in der ansehnlichen Reihe von Schnapsideen der Besten Band der Welt unangefochten auf Platz eins. Eigentlich als kleine Spaß-EP zwischendurch geplant, sind es am Ende 17 Songs über Haare.

Warum? Weil es die Idee gibt. Weil es keinerlei Sinn macht. Weil sie es wollen.

In nur 14 mit absurden Einfällen vollgepackten Tagen eingespielt, ist „Le Frisur“ nach herkömmlichen Musikgeschäftskriterien ein eher … äh … durchwachsener Erfolg. Aber Legende. Mit gleich einer Menge
Fan-Lieblings-Geheimtipps à la „Der Afro von Paul Breitner“, „Vokuhila Superstar“ oder „Motherfucker 666“. Die Todesmetall-Anleihe „Dauerwelle vs. Minipli“ wird zum Dauerklassiker auf den Konzerten. Zwei ausgewachsene Allzeit-die ärzte-Hits gibts mit „Mein Baby war beim Friseur“ und „3-Tage-Bart“ obendrein.

Die ärzte: Jetzt mit ganz viel Hair Metal und Videodreh in Los Angeles. Mit fast ganz echtem NeunzigerBoyband-Charme. Und mit Geili-geili-Supertyp.

„Le Frisur“ erscheint ausschließlich als Vinylalbum (inklusive Downloadcode) am 3. Februar 2023.

Eurovison Collected compiles many winners of the Eurovision Song Contest, an annual competition organized by member countries of the European Union. The double album contains the #1 hit songs from earlier winners such as France Gall “Poupée De Cire, Poupée De Son” (France, 1965), Sandie Shaw “Puppet On A String” (United Kingdom,
1967), Sandra Kim “J’aime La Vie” (Belgium, 1986), Johnny Logan “Hold Me Now” (Ireland, 1987), Katrina & The Waves “Love Shine A Light (United Kingdom, 1997), Lordi “Hard Rock Hallelujah” (Finland,
2006), Loreen “Euphoria” (Sweden, 2012), Duncan Laurence “Arcade” (The Netherlands, 2019) and recent winners Måneskin “Zitti e Buoni” (Italy, 2021) and Kalush Orchestra “Stefania” (Ukraine, 2022).

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Repress!

Silver Sleeve 2012 Version

This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.

Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.

Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).

More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.

Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

2023 repress

The biggest names in D&B sonic manipulation come together on one 12'. We highly recommend you buy a new needle to do these tracks justice. Future D&B at its best!

Pop Matters said that "Nnamdï's sounds are a testament to the continual melting away of genre distinctions in the current era of (particularly Black) music." His extensive catalog includes covers significant ground in hip-hop, pop, rock, punk, orchestral, and experimental music. In 2021, NNAMDI expanded his freewheeling sonic explorations for an entrée into the world of pop-infused dance and electronica with the release of the Are You Happy EP on November 12, 2021. Notably, Are You Happy is the only NNAMDI project to date that he did not produce, perform, and record by himself. To the surprise of his fans, NNAMDI bucked that self-imposed precedent to work with Chicago producer Lynyn. Lynyn is the alias of composer Conor Mackey, NNAMDI's longtime bandmate in the jazz-fusion quintet Monobody. Are You Happy released shortly before Lynyn's 2022 debut electronic LP lexicon (Sooper Records), which went on to garner significant acclaim. DJ Magazine said that "lexicon is likely to set him apart as one of IDM's next visionaries".

Endlich als LP-Vinyl wiederveröffentlicht! Im Original 1978 auf dem Label Joint International als US-Pressung veröffentlicht, wurden die Bänder nach London zum legendären Mastering Experten Kevin Metcalfe geschickt, der eine komplett neue Überspielung für Greensleeves anfertigte. Das Album wurde in Randy's, Channel One und den Chalk Farm Studios aufgenommen und bei King Tubby's mit dem finalen Mix ausgestattet, am Mischpult dabei Clive Chin, Lancelot 'Maxie' McKenzie, Sid Bucknor und Prince Jammy.

Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)

Erstmalig als Repress auf Vinyl erscheint die offizielle Dubversion zum Kultalbum "Rasta Communication". Die 10 Tracks des 1978er Originalalbums wurden in Jamaika in Randy's sowie im Channel One Studio und in London (Chalk Fram Studio) mit Sly & Robbie und Musikern des Soul Syndicate aufgenommen. Am Mischpult saßen dabei Clive Chin, Lloyd McKenzie und Sid Bucknor, der finale Mix wurde von Prince Jammy im King Tubby's Studio ausgeführt. Die Arbeiten des Sängers und Produzenten Keith Hudson, auch bekannt als 'The Dark Prince of Reggae' (geboren 1946 in Kingston, Jamaika - r.i.p. 14.11. 1984 in New York), hatten einen großen Einfluss auf die Entwicklung des Dub.

Der Grammy-nominierte Shawn Mendes veröffentlicht sein viertes Studioalbum ”Wonder”. Über sein neues Projekt verrät er: ”I wrote an album. It’s called ’Wonder’. it really feels like a piece of me has been written down on paper and recorded into song. I tried to be as real and as honest as I’ve ever been. It’s a world and a journey and a dream and an album I’ve been wanting to make for a really long time. I absolutely love it. Thank you for being by my side for so many years. I love you all so much. I hope you can listen front to back. I’ve missed you all so much! I know it’s been a really scary year for everyone so I’m sending buckets of love to all of you x” Shawn Mendes hat weltweit über 20 Millionen Alben und 175 Millionen Singles verkauft. Er hat zwei ausverkaufte Welttourneen mit über einer Million verkaufter Tickets absolviert und legendäre Stadien und Arenen wie den Madison Square Garden in New York und die O2 Arena in London innerhalb von Minuten ausverkauft. In den Jahren 2017 und 2018 stand er an der Spitze von Billboards ”21 Under 21” und wurde in Forbes ”30 Under 30”, Spotifys ”25 Under 25” und im Time Magazine ”Time 100 Most Influential” aufgeführt. Das neue Album ”Wonder” enthält insgesamt 14 Tracks.

Throughout her much-lauded career as a DJ and producer, Ciel has worked hard to build community through events and DJ workshops in her home city of Toronto and on a larger scale with podcasts and projects meant to elevate women artists. The title of her latest EP, “All We Have Is Each Other,” reflects her history of mutual support, and in these times when so many of our connections seem broken by the pandemic, it offers a reminder that music still has the power to unite us.

Ciel has never been an artist who lets genres define or constrain her, so it seems only fitting that this release lands on Mister Saturday Night Records, a New York City label with a similar ethos. It’s in this refusal to restrict her sound to narrow definitions that something magical happens.

This 5-track EP spanning dance floor fillers and home listening pieces builds on a frame of tough footwork-paced kick drums, the skip and swing of 2-step garage, broken house, and slow, meditative beats. Woven throughout are hopeful melodies, dappled with sunlight tones and layered with organic percussion. The connective tissue is a deep feeling of joy and hopefulness in the power of music and collective humanity.

When the world goes up in flames, all we have is each other. Music connects us with like-minded communities that both shelter and empower us. With this emotive collection of diverse songs, Ciel reaches out a hand and invites us to be a part of something beautiful and authentic.

Started as a reggae band, Chequers were formed by the Matthias Brothers, John & Richard, in Aylesbury, Buckinghamshire in 1973. Inititally releasing in the early part of the 1970s (with their first single Rudi's In Love charting in the UK) their sound then developed to also incorporate Philly soul influences in the mid-70s, then releasing a rare but solid LP 'Check Us Out', in 1976. The group eventually evolved into a seven piece funk outfit in the late 70s, playing shows to larger and larger audiences and touring throughout the UK & Europe.

1980 saw the birth of the Matthias brothers' own small independent outlet for the group, Matthias Records. The press release of the new label's first single declared that their "roots in the reggae and soul music of the last mod era" were being brought up to date, now embracing "the music of today and tomorrow...". That 45 (the cheeky pop-punk meets ska cover version of Midnight Hour, backed with the uptempo instrumental funk of Move Up) didn't necessarily come good on that promise. 3 years would then pass until this 45 showcased the throughly-updated & stellar electro-boogie sound of Hard Times and it's equally strong b-side If You Want My Love.

Following this neither Matthias Records nor Chequers as a group ever released anything further - the record's scarcity (and hideously inflated prices on today's secondhand market) hint at low sales and potential distribution problems upon it's original release, perhaps leading to the label and the group calling it a day. Conjecture aside, there's really no denying this record slaps, and with discogs prices reaching beyond ridiculous levels there is only one option - get it before it's gone!

The Origins of Power Pop.
Remastered and pressed on Gold Vinyl. Includes printed inner sleeve.
In these songs you’ll find the DNA of The Direct Hits. Although very Elvis Costello like in both style and vocal delivery, these early recordings, dating from 1979 show a remarkable pop sensibility that had come on leaps and bounds since the release of the band’s first single, the now highly sought after ‘Fashion Plague’ b/w ‘Cheam’ released a year prior to these being recorded. Songs like ‘We broke up today’ have all the hallmarks of classic merseybeat, while out and out power pop like ‘Holiday Shots’ and ‘Fool to fall in love’ encapsulate perfectly the sheer exuberance of the genre.
More than a few steps ahead of several of their contemporaries, the band’s built in tunesmiths Buckmaster and Swan were writing catchy songs that carried a powerful punch performed with the energy and excitement of the period. The Exits left behind a wonderful set of recordings that are worthy of a comprehensive vinyl retrospective release,
These recordings first saw the light of day on a CD only release back in 2007 when Cherry Red released the CD ‘The Legendary Lost Exits album’ through its Rev-Ola offshoot. Reportedly the band members were disappointed with the overall mix on the finished release for being a little Lo-Fi . There are no such issues with this specially remastered version for vinyl. The tracks sound fresh, punchy and full of annoyingly great hooks! We are delighted to bring you yet another great addition to our catalogue of long since undisturbed sleeping giants, the Exits, and their Legendary Lost album!

For Fans Of... Lady Wray, Lee Fields & the Expressions, Clairo, Thee Sacred Souls, Chicano Batman, Menahan Street Band, Khruangbin. Red vinyl 7” is strictly for Indies only. The female-led discodelic soul band Say She She take you tumbling into the blazing inferno of discovering and dodging infidelity with their latest song 'Trouble'. Co-produced by former Daptone touring stalwarts Michael Buckely (Sharon Jones/ Lee Field) and Vince Chiarito (Charles Bradley, Antibalas) at their analog studio, Hive Mind Recording, in Brooklyn. The track carries a classic sound for an age-old trope of feeling like you've reached the end of a beautiful love affair that's run its course, knowing you're out of time but still susceptible to getting pulled right back into the chaos. The wailing chorus will have you losing your head grappling with weighing up the responsibility of trying to fix a broken relationship and the lure of temptation as you find yourself falling for another. 'Trouble' leaves you engulfed in weaving vocals and gut-wrenching vibrato - caught between lofty desire and rock hard rejection.

For Fans Of... Lady Wray, Lee Fields & the Expressions, Clairo, Thee Sacred Souls, Chicano Batman, Menahan Street Band, Khruangbin. Red vinyl 7” is strictly for Indies only. The female-led discodelic soul band Say She She take you tumbling into the blazing inferno of discovering and dodging infidelity with their latest song 'Trouble'. Co-produced by former Daptone touring stalwarts Michael Buckely (Sharon Jones/ Lee Field) and Vince Chiarito (Charles Bradley, Antibalas) at their analog studio, Hive Mind Recording, in Brooklyn. The track carries a classic sound for an age-old trope of feeling like you've reached the end of a beautiful love affair that's run its course, knowing you're out of time but still susceptible to getting pulled right back into the chaos. The wailing chorus will have you losing your head grappling with weighing up the responsibility of trying to fix a broken relationship and the lure of temptation as you find yourself falling for another. 'Trouble' leaves you engulfed in weaving vocals and gut-wrenching vibrato - caught between lofty desire and rock hard rejection.

One of the most incredible things about great music is that it has the ability to take the
listener to a place they’d rather be. A compelling song can carry someone back in time to a
treasured memory, or transport a person to a spectacular western prairie they’ve only visited
in their dreams. Ned LeDoux’s music has that kind of power. As a songwriter, he has a knack
for bringing people, places and emotions vibrantly to life with his insightful lyrics, and warm,
strong voice that makes him soundlike a beloved friend you always want to hang out with.
Those gifts are fully on display on LeDoux’s new album Buckskin.

Die neue Ausgabe der Bootleg Series von Bob Dylan, "Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17" erscheint als 5 CDs umfassendes Deluxe Boxset sowie als Standard-Version auf 2 CDs oder 4 LPs. Sie enthält in der Standardversion das Album "Time Out Of Mind" in einem 2022er Remix sowie zwölf ausgewählten Outtakes und Alternativversionen. Volume 17 der gefeierten Dylan-Reihe wirft 25 Jahre nach seiner Erstveröffentlichung einen neuen Blick auf das Meisterwerk "Time Out Of Mind" und zeichnet dessen Entstehung nach. Angefangen bei den bislang unveröffentlichten Song-Fassungen aus den 1996er Teatro-Sessions mit Dylan (Gesang, Gitarre, Piano), Daniel Lanois (Gitarre, Orgel), Tony Garnier (Bass) und Tony Mangurian (Schlagzeug, Percussion) bis hin zu (ebenfalls unveröffentlichten) Live-Mitschnitten aus den Jahren 1998-2001. Anfang 1996 begann Dylan, der seit der 1990er LP Under The Red Sky kein Album mit Eigenkompositionen veröffentlicht hatte, mit der Arbeit an neuen Songs. Von August bis Oktober ging er mit Daniel Lanois, der sein 1989er Album Oh Mercyproduziert hatte, ins Teatro Studio in Oxnard/CA, um dort Demos für eine mögliche neue LP aufzunehmen. Als die Songs im Januar des Folgejahres Form angenommen hatten, zog man ins Criteria Studio in Miami/FL um. Die Studiobesetzung wurde aufgestockt, und so fand sich in Florida ein illustrer Mix aus Session-Musikern und Mitgliedern von Dylans Tourband ein: Bucky Baxter (Akustikgitarre, Pedal Steel), Duke Robillard (E-Gitarre/Gibson L-5), Robert Britt (Martin Akustikgitarre, Fender Stratocaster), Cindy Cashdollar (Slide Gitarre), Tony Garnier (Bass, Kontrabass), Augie Meyers (Vox Orgel, Hammond B3, Akkordeon), Jim Dickinson (Keyboards, Wurlitzer E-Piano, Pumporgel) sowie die Schlagzeuger Jim Keltner, Brian Blade und David Kemper. Das Album "Time Out Of Mind", der schließlich aus diesen Sessions entstand, avancierte zu einem Dylan-Klassiker. Songs wie "Love Sick", "Can't Wait" oder "Not Dark Yet" wurden zu Lieblingsstücken der Fans. Mit "Make You Feel My Love" gelang Dylan sogar das Kunststück, dem Great American Songbook einen neuen zeitgenössischen Standard hinzuzufügen. Zahllose Künstler, darunter Billy Joel, Neil Diamond oder Adele, haben diesen Song gecovert. Bei den Grammy Awards 1998 gewann "Time Out Of Mind" in den Kategorien 'Album of the Year' und 'Best Contemporary Folk Album'.

'Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017' ist das neue 2CD bzw. 3LP Live-Compilation-Album von The Tangent. 'Eine Triple-Live-LP ist etwas, das man auf der Bucket List stehen hat.', sagt Leader Andy Tillison. 'Ich träumte davon, so etwas zu machen, seit ich ein Kind war.' Drei Konzerte sind vertreten, eines von 2004, eines von 2011 und eines von 2017. Alle wurden bereits in irgendeiner Form als 'inoffizielle Bootlegs' veröffentlicht, aber hier auf InsideOut werden sie zum ersten Mal standesgemäß präsentiert. Das 'Pyramids And Stars'-Konzert aus dem Jahr 2004 in Deutschland, bei dem die 'Roine Stolt'-Besetzung von The Tangent einen Großteil des Debütalbums 'Music That Died Alone' sowie (damals) neues Material vom zweiten Album 'The World That We Drive Through' spielte, ist in vollem Umfang enthalten. Hinzu kommen Tracks der COMM-Ära-Besetzung der Band (aufgenommen ohne Wissen der Musiker) bei einem Konzert in Großbritannien - sowie Tracks, die 2017 in den USA von der aktuellen Besetzung der Band aufgenommen wurden. Diese erschienen ursprünglich auf den Fan-Veröffentlichungen 'Southend On Sea' und 'Hotel Cantaffordit'. Präsentiert in einer neu gestalteten Ed Unitsky 'Pyramids and Stars' LP-Gatefold-Hülle und Doppel-CD-Digipack sowie als digitales Album, wurde die Veröffentlichung dieses Albums von den Fans der Band lange erwartet.

Embracing his career path as an emcee/entertainer, CRIMAPPLE returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, CRIME is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined CRIME’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where CRIME lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”.

All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

Featuring Andre Innes, Martin Duffy & Darren Mooney of Primal Scream. “In 2018 after a particularly messy session involving Pacharan, a Spanish version of Pernod, the name and then there were four was bandied around as my fellow travellers fell by the wayside, sounded like a Spaghetti western…and the idea was hatched. We began recording in Artesonao studios in Malaga, myself and Ed Chapman, a renowned English artist, we were ably assisted by Rachel Hewitt on violin we recorded a dozen or so tunes in a week. We recruited the services of Darrin Mooney and Martin Duffy of Primal Scream on drums and keys, Andrew Innes of Primal Scream assisted on additional guitars, celeste and bells…lots of bells. Robert McGovern came out to Malaga to play on a few tracks also. We had the voice of Justine Petty – Burrows a Canadian chanteuse to be a foil to my less than acrobatic voice. The record was a return to my favourite music of my youth, soaking up Dylan, Scott Walker, Tim Buckley, Tim Rose, Tim Hardin and the soundtracks of Morricone, like an old compilation tape from 1986” – Sheer Taft 2022 Tracklist Side One 1.And then there were four 2.Everybody's been somebody's fool 3.Gypsy river 4.After midnight 5.The sun is ours 6.Mezcal dream 7.Four ride out Side Two 1.Enemigo de todos 2.Alegria 3.Chasing down a dream 4.The ghost 5.Time 6.Requiem for Pablo 7.(There goes) A friend of mine

The third installment of Numero's ode to lowrider souldies, Rust Side Story compiles highly sought after sweet soul singles from the Buck Eye State. Prepare for a low and slow ride from Youngstown to Dayton, Cleveland to Columbus, Toledo to Cincinnati, all soundtracked with silky falsettos and dreamy harmonies.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

Originally released in 2001, Nigeria 70 was the first compilation of its kind to explore in depth the fertile music scene in Lagos as domestic artists mixed highlife and traditional rhythms with soul, funk, rock and jazz. While Western audiences were already familiar with Fela Kuti and his life story, the album placed the spotlight on some of the other great musicians and bandleaders in Nigeria during the "70s period: Joni Haastrup, Peter King, Segun Bucknor, Bala Miller, Blo, King Sunny Ade, Tunji Oyelana and many more.Three further volumes followed, exploring the far corners of original Afrobeat, juju, funk and soul.

US-Rapper Russ bringt den Nachfolger seiner von der Kritik hochgelobten CHOMP EP (2020): CHOMP 2 gilt als sein bislang explosivster Release, der sich mit einer Reihe von Rap-Künstlern und gefeierten Produzenten als Kandidat für das beste Rap-Album des Jahres empfiehlt. Zur Bande seiner Mitstreiter besteht aus The Game, Ransom, Papoose, Big KRIT, Westside Gunn, Styles P, Jadakiss, Lloyd Banks, Cyhi Tha Prince, Jay Electronica, Ghostface Killah, Conway The Machine, Mozzy, Snoop Dogg, Big Sean, Wale und Royce Da 5'9. Dazu gesellen sich Stars wie 9th Wonder, Statik Selektah, Hi-Tek, The Alchemist, DJ Premier, Jake One, Hit-Boy, Bink!, Boi-1DA, Harry Fraud und Mr. Porter, die neben ihm auf CHOMP 2 zu hören sind.

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

Portland's premiere purveyors of kraut-inflected party rock return with an
album's worth of tunes crammed into an extended playing set
The eponymous lead track bursts out of the gate with ebullience. Lee Ritter's
rhythms and Cord Amato's riffs fit comfortably in the space where Kraftwerk left
off and DEVO began. "Artificial Head" may be about a Fleshlight, or it could be a
paperback sci-fi-derived weed fantasy. You could listen to Møtrik while sober, but
why would you do that? Next up is the measured and groovy "Castle Electric"
which features a dialog between bassist/vocalist Erik Golts and a sexy computer.
His German is easily as good as her English and one wonders how the night
ended after she switched the lights "auf." Side one completes with "Unifox" built
up from a Dave Fulton synth composition into a full- fledged Møtrik track, this
being the first time the band has bucked its contrarian vision of a band that jams
in its own professional recording studio yet refuses to produce itself. "Outer
Reaches" is the patiently awaited sidelong epic. The contemplative and
exploratory scene begins with chirrups from an analog swamp, then slowly rises
through the hazy pastel atmosphere on a crystalline bubble before blasting off
into full- fledged Floydian outer space psych. As always, Møtrik colors between
the lines, applying its overall aesthetic to rock music, which is to say it's the
FORTRAN approach to basement partying. Artificial Head is just what your body
needs to feel complete. Pressed on Light Green Color vinyl.

Continuing the succesful V.38 here you have the Vol.2, 27 special cuts and tracks of the most influence Rapper of all the times, DR DRE, helped for the more importants stars of Hip Hop like 50 CENT, SNOOP DOG, Lil Wayne, Jay-Z... This is a special and powerful weapon for all the Hip Hop creators and DJ's.

Recently discovered in the vaults - 10 previously unreleased and virtually unheard studio recordings.

Including covers of Bob Dylan, Sly & The Family Stone, The Smiths, Led Zeppelin, Bukka White and Jevetta Steele, in addition to the first ever studio recording of his signature song 'Grace' and 'Dream Of You And I', an unheard original recording which informs the deeply intimate and profoundly personal mood of the album. These recordings represent the breadth of Buckley's influences and talent for interpretation.

Recorded prior to the sessions which would become his seminal debut album 'Grace', these tracks offer a unique insight in to the creative process of a developing genius and inimitable immerging talent.

The Columbia/Legacy release of Jeff Buckley's You and I has been overseen by the artist's mother, Mary Guibert.

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

First released 1983, all tracks produced by A Ranglin, except Hard Times
& Only Your Picture produced by V Buckley
Recorded & Mixed at: Channel One Recording Studio, 29 Maxfield Avenue,
Kingston 13, Jamaica
The Maytones are Gladstone Grant & Vernon Buckley
Original cover by C More Tone
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