Search:bun b

Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man…or Astro-Man? present to you seven volumes of their famed U.K. radio sessions. The band’s third session for famed DJ John Peel is their first with Dexter X from Planet Q. And for completists, "Welcome to the Wicky Wacky World of John Peel" is credited that way in the BBC archive, but we all know it's "The Wayward Meteor." For John Peel, who was one the earliest, most visible and most vocal supporters of the band, all four songs that were recorded are being released on this sixth of seven singles.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

LIVERPOOL’S LONG LOST 90’s INDIE ROCK NOISEMAKERS. COMPILING THREE SINGLES AND UNRELEASED TRACKS. “If these guys were American they’d have a massive following” STEVIE CHICK. Back in the 1990's PLAYHOUSE were Liverpool's premiere 'honey souled indie rock band' (NME, 1997). They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band - Black Spiders and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs, over a 1000 at this point. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister & JAAW. 'Dynamo' compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's 'It's So Hard To Fall in Love'

So I have a problem: I hate everyone and all music. Well, OK, not everyone. But c’mon - you know what people are like. Honestly, they’re the worst. And fair enough I might not really hate all music, but let’s be honest: have you ever actually heard any music? I mean, jeeez. If I’m gonna listen to a record, I’ll need something that matches this misanthropy; something that really gets the neurotransmitters firing on all cylinders and ready to obliterate the feelgood factor. Something like Cleveland band Cruelster, basically. Cruelster are made up of members of Knowso, Perverts Again, and a plethora of other Ohio noiseniks. If it seems like you’ve seen that name before, it’s highly probable - they released a demo back in 2012 and have been sporadically dropping bundles of rough-edged sonic snot ever since, thanks to labels like Lumpy (whose own Dumpers are at the very least sonically adjacent) and Turbine Piss. This singles collection compiles all the non-album tracks they’ve released since that early demo to make a thrillingly ‘orrible racket. Twelve years’ worth of punk rottenness and general stupidity contained in 29 tracks and 40 noisy minutes. It is, of course, fucking brilliant. From the gleefully melodic dumbness (and Booji Boy-flavoured additions) of ‘My Embarrassment’ to the malevolent rumble of ‘Double Trouble’, not to mention a fabulously energised cover of Icona Pop’s dance-pop smash ‘I Love It’, every track here is a winner. It’s the perfect tonic for your rage and the perfect foil to a cruel world where everyone else’s disdain seems more pronounced than your own. You owe it to yourself to complete your record shelves with this instantly classic comp - it’s punk rock par excellence. And as for that ‘hating all music thing’... ah, who cares, this is all gold. Listen immediately, you’ll be causing chaos to its raucous brilliance before you know it. Genre: Alternative / Punk

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

Moustache records 050 ! TAFKAMP and David Vunk present: Frequent Flyers - Skypriority EP Jacking Chi-house electro acid techno project ouwe stijl. 3 fistpumping peaktime jams for the dancefloor. Recorded produced and mixed by 2 underground club djs from Rotterdam in the bunker downtown Rotterdam city center. A1 The Jacker. Jack Jack Jack Jack the house. A hard rocking banger for the floor and a tribute to the Chi-town. Expect a massive bassline and crazy rhythm section. B1 Acid Party. A jacking acidtechno oldskool-ish track with tb303 acid funk and some track muting fader action for the freaks. Hands in the air guaranteed. B2 Interzone. Raw Acid Electro, early rave steps. No fillers only killers. Skypriority red coloured 180 gram Vinyl. Don't sleep on this very limited pressing. A true collectors item for the KLM fans and fetishists.

THE GROOVE SESSIONS VOL.1 is the compilation of the 3 EPs released by CHINESE MAN between 2004 and 2007 since the creation of the CHINESE MAN RECORDS label.

Stop. Breathe. Reload. And dive into "El Paso, Elsewhere: The Album". Black Screen Records, Lost In Cult Records and Strange Scaffold are teaming up to bring the original songs of RJ Lake and LAKE SAVAGE to life on glorious vinyl. "El Paso, Elsewhere: The Album" takes aim at the key songs that punctuate the game's dark and introspective journey through haunted hallways - with heavy doses of hip-hop, electronica and Trace-Wave coalescing into a pellucid vision of influences and a deeply entrenched sense of identity, akin to the works of seminal hip-hop artists such as Kendrick Lamar and Open Mike Eagle. All tied together within the beautiful gold foil cover artwork by Bri Neumann. RJ Lake shared some of their thoughts going into the creation of this album: "Months before the first thing I ever started working on with Nelson Dog Airport Game (that's not the actual title, but it might as well be) even came out, he asked me if I knew anyone who could make a horror game. I knew a guy. A few months in, we did a touch-base about the music and mutually agreed that none of it at that point was totally working. It was good (look, I'm not going to put myself down here; even back in 2020, it kicked ass) but it wasn't RIGHT. He gave me a bunch of reference materials and kept pointing to them and saying: 'Okay, but these? These are RIGHT. These have the juice we want.' The thing every single song he showed me had in common, was that every one of them had vocals. After some back and forth, we both agreed: 'El Paso, Elsewhere' had to be a rap record as much as it had to be a game. So, three and a half years later, here we are. This is probably the most lavishly mixed thing I've ever made, full of weird, intricate beats, layered vocals from both myself and Nelson, lyrics that go everywhere from bleak to so-party-that-you'll-die to totally ridiculous, loads and loads of genre switch-ups, and absolutely zero subtlety. For 'El Paso, Elsewhere', I made a full score, but that's not what this is. This vinyl is a fucking album and it's sequenced like one. Play it loud!" Alongside the LP, explore what happens after the events of "El Paso, Elsewhere" within the diaries of James Savage - an exclusive in-world archive of the thoughts and feelings directly from the heart and soul of our protagonist within the liner notes. As well as a 5-page excerpt from the "El Paso, Elsewhere" original script and never before seen concept art by Demente Animation Studio.

In our 20th celebration year we welcome back Loz Goddard! It’s been quite a while since we last saw him on our label. With his standout debut collab release with Harry Wolfman in 2016 he has developed a unique mix of electronica, deep soundscapes and lush organic Deep House on labels such as “Oath”, “Razor N Tape”, “Church”, “Outplay” and “Apparel Music”. Now he finally returns with a mini album that features beautiful crafted ambient and electronica cuts paired with three upbeat tracks that will for sure shake the dance floors in and outdoors this summer! Enjoy!

In his own words, here are some insights on the influences and production process of these six pieces:

The release is named after a night in the White Hotel in Salford watching Skee Mask. At the time I had a bunch of unfinished ambient ideas as a result of making “Balloon Tree Road” (out on Oath). There were a lot of ideas I still loved that didn’t get finished for that release, so I set about finishing them late 2022 & early 2023 with the view to releasing an EP or ‘mini album’ that was again angled a bit more towards home-listening.

The more upbeat tracks are newer jams that I created in 2023. I wanted to include a few club-ready tracks on the record as well, so the release appeals to DJ’s as well as home listeners. I approached the production much like my past two records on Oath, with lots of live drum elements, some sampling and a mixing approach which keeps everything sound warm and organic. It’s rough round the edges - as has been the case with my productions of late - and offers a nice contrast to my DJ sets and radio shows at the moment, in which I am playing mostly Deep/Progressive House, Breaks & Techno. There’s some influence on the title track from the Deep & Lo-Fi House sound of artists like Baltra & Mall Grab, and I have taken influence from all the breaks I’ve been playing in DJ sets for ‘How’s This for a Vague Song Title’.

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Introducing "The Sevens” - A Sonic Revelation from A Place To Bury Strangers Prepare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. 'Chasing Colors/I Can Never Be As Great As You Are' is the second release coming March 22. "When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann. The vinyl is pressed as a white disc.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

After nearly 14 years The Hope Conspiracy have emerged from their bunker to a reality entangled by this unwavering truth. Since their last release (True Nihilist, 2009) members have been active in a multitude of bands; All Pigs Must Die, Hesitation Wounds, Lies, Paint It Black, Spiral Heads, Ways Away and more. Efforts in the above may have kept them musically sharp, but it was the pressures and stresses
of our present day dystopia that awoke The Hope Conspiracy. Serving as the catalyst for some of the most vicious songs they have ever created in their legendary career. Four song EP by The Hope Conspiracy, engineered by Kurt Ballou and Zach Weeks at God City Studios

Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces...,

Dub Store Records is the Ska, Rocksteady, Reggae, Roots and Dancehall reissue label run by the eponymous Tokyo based record store. The label aims at accurately covering the 50-plus years of Jamaican music, and pass on many rare and magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music, Dub Store Records has so far issued recordings from labels and artists such as Studio One, Federal Records (Federal, Kentone, Merritone), Bunny Wailer's Solomonic, Familyman's Fam's, Jammys, King Tubby's Firehouse, Derrick Harriott, Kiddus I, Redman International, BMN and much more to come.

At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now...,

It is next to impossible to ever overstate the importance of The Wailers to the history of Jamaican music and, as the last surviving member of the group, Bunny Wailer rightly regards himself as the sole keeper of their history ever mindful of the group's exalted position in the story of reggae music and the importance of their legacy. In 2010 Dub Store were proud to be able to work with Bunny on re-releasing a selection of his earliest recordings for the Solomonic label, lovingly restored and presented in reproduction sleeves and labels, on limited edition seven and twelve inch singles. Now, taking another step forward, we are more than proud to present Bunny's timeless music on two beautifully packaged CD's and double LP's. Bunny's first solo album, 'Blackheart Man' originally released in 1976 on his own Solomonic label in Jamaica and on Island in the UK, is one of the undisputed all time classics of Jamaican music and established Bunny Wailer as a highly respected, world renowned artist in his own right. During this period Bunny also produced a series of singles released in Jamaica and the UK in strictly limited quantities without the benefit of international distribution, that are every bit as good and, in some cases, even better than this awesome debut long player. Original copies have subsequently become highly prized, and highly priced, collector's items. "Classic rarities" is an overused and abused term too often employed to describe average records that failed to sell on their initial release but both 'Tread Along' and 'Rise & Shine' are packed from beginning to end with a searing selection of some of the greatest and hardest to find reggae records ever produced. 'Tread Along' opens, naturally enough, with 'Tread Along' from 1969, one of the last singles for The Wailers' own Wail N Soul M label, and runs through the first release on the Solomonic label, 'Searching For Love' also known as 'Search For I', 'Bide Up' released as 1974 drew to a close, a radical reworking of 'Pass It On' and a marked contrast to the version on The Wailers' 'Burnin'', album, 'Life Line' and the prophetic 'Arabs Oil Weapon' kept the pressure on as Bunny began outlining the flawless 'Blackheart Man' album. Each release was a certified classic in its own right. Peter Tosh's melodica version to Bunny's 'Amagideon' ('Armageddon'), the first track on 'Rise & Shine', is followed by 'Love Fire', an update of another Wail N Soul M track, 'Fire Fire'/'Babylon Burning', through to one of the deepest roots records ever created, 'Rise & Shine', on to 'Riding' from the 'Bunny Wailer Sings The Wailers' sessions (but not featured on the album) and a huge hit in the UK in 1981, and closing with 'Rule Dance Hall' from 1985. No idle boast..., The liner notes feature the story of The Wailers, as told to Dub Store by Bunny himself in Kingston in an enlightening 2012 interview, and rarely seen contemporary photographs complete these essential releases. The music of Bunny Wailer was not only a medium for change and protest but also to elucidate and educate and 'Tread Along' and 'Rise & Shine' finally complete the canon of un-compiled Wailers music. "I'm quite satisfied, you know, reggae music is the kind of music that although sometimes you would look at it and say..., boy, it's hard..., then again you look at what it has done for the people of the world you know that that couldn't be locked up in a little place like Jamaica!" Bunny Wailer

Here's for the real thing! A late 60s Japanese compilation investigating the so-called "group sound" movement. Includes early recordings by a series of musicians later to perform with legendary bands such as the Flower Travellin' Band, Speed Glue & Shinki, Les Rallizes Denudes and Foodbrain. Must have !

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.

Repressed! Presented here, the definitive reissue of a lauded and misunderstood Krautrock album, German Oak’s Down in the Bunker.

The release has been fetishized and demonized, lauded and misunderstood for nearly four decades. In this definitive reissue of the album, the German Oak trio – together again after 30 years apart – have approved the remastering of their 70s music; finally tell the story behind the creation of their dark, brooding album – and the occult-obsessed record collector behind the original album’s release and its myth – and they share previously unreleased music and photos.

This two LP set presents the album as it was initially released, and a second disc of other songs by the band, both rare and previously unreleased

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

Ivan The Tolerable started by accident in 2013 when Heffernan recorded a bunch of songs for his band at the time (Year Of Birds). These were a bit too left-field for a speedy garage band, so Oli decided to put them out on tape himself, and hasn’t looked back since with releases on Up In Her Room, Stolen Body Records and Library of the Occult to name just a few.

We are delighted to bring you our next entry from the Ivan The Tolerable archive reissue series, 2019’s ‘Wild Nature!’ Originally released on CD by Ack Ack Ack Records back in 2019, the album has now been remastered and repackaged, and will be released on super ltd edition orange wax. Here’s a bit about the album in Oli’s own words.

‘Wild Nature was originally recorded sporadically during the first half of 2019. It started life in one house, then I moved and it was finished in another. I remember screenprinting the original CD artwork on the sly at my old job during my lunch breaks and hand-assembled a small run of about 50 that are all long gone. I also remember walking around Albert Park early one morning in thick fog with a field recorder to capture the sounds that were then processed to form 23 Minutes Over Albert Park (condensed to 4 mins for the reissue due to time constraints). I think this was also the last album I recorded vocals on and also the last one I recorded completely by myself - all instruments, recording, mixing, mastering and artwork done by me at home. I know the first and last tracks were recorded as a birthday present for someone but I cant remember much about the other songs i'm afraid - 4 years is a long time in my speedy world. I've been asked a bunch over the years about a vinyl edition of this one - so here it is. Enjoy - especially everything that went through the delay pedal, which is sadly no longer with us.’

Ätherische Traumdüsternis mit einer Stimme, die so einzigartig ist, dass ein völlig neues Genre geschaffen werden musste, um alle vier Oktaven unterzubringen. Der "Ecto-Pop" von Happy Rhodes, der klassische Musik mit Synthesizer und akustischer Gitarre mischt, hat sich außerhalb des Bundesstaates New York nie richtig durchgesetzt, aber das hat die Gothic-Americana-Königin Marissa Nadler nicht davon abgehalten, "Where Do I Go" 2018 neu zu interpretieren. Sowohl das Original als auch das Cover sind hier in einer eleganten schwarz-silbernen Hülle mit geprägter Blindenschrift für Sehbehinderte untergebracht.

Ätherische Traumdüsternis mit einer Stimme, die so einzigartig ist, dass ein völlig neues Genre geschaffen werden musste, um alle vier Oktaven unterzubringen. Der "Ecto-Pop" von Happy Rhodes, der klassische Musik mit Synthesizer und akustischer Gitarre mischt, hat sich außerhalb des Bundesstaates New York nie richtig durchgesetzt, aber das hat die Gothic-Americana-Königin Marissa Nadler nicht davon abgehalten, "Where Do I Go" 2018 neu zu interpretieren. Sowohl das Original als auch das Cover sind hier in einer eleganten schwarz-silbernen Hülle mit geprägter Blindenschrift für Sehbehinderte untergebracht.

the debut release of italian producer now berlin based luca trentini aka trent.

he is a resident dj of cocktail d’amore and have released some unique records from sound metaphors label “bless you”, cocktail d’amore.

on a side,”on fire” is just fire! it’s a mad dark disco house bunger.

on b side,

”drums charmer” is dark,psychedelic slow mo house. if you like slow stuff of andrew weatherall,you will love it.

“edenico blues” is a modern interpretation of afro cosmic sound. it’s for the fan of beppe lota or daniele baldelli.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

No Wahala Sound Orchestra is a contemporary, London-based collective with members from backgrounds as diverse as Jamaica, Ghana, Bangladesh, Poland, Trinidad, Denmark, Ireland and the UK.Gideon Coe ( 6Music) Neil Luscombe (BBC Radio 3) and Steve Barker ( BBC Radio Lancashire) have all offered their support over the years.

The music takes in elements of electronica, jazz, reggae, dub poetry, Afrobeat, classical Indian music and many other global sounds."On Gossamer Clouds" is a compilation of some key recordings over the last ten years. It features 12 tracks which vary in styles and mood, but form a coherent whole.

Love Is Yes is the first album by Sander van der Toorn and Dax Niesten, an audio-visual duo de force of the same name.

This heady debut is rooted equally in the worlds of fine art and experimental music. Sound and image meld wonderfully across 10 tracks, with shifting movements of music accompanied by a wealth of paintings and animations.

Niesten's work summons the likes of Philip Guston and Maurice Sendak - with its crestfallen, cartoonish voids and cockle-warming grotesquery. Serenely contorted creatures are rendered on large canvases, and brought to fuzzy, maudlin life through a full-length animation that can be viewed alongside the record.

Musically, the pair cite influences ranging from Vashti Bunyan to Morton Feldman. There is an ornate fragility, smeared by zero gravity focus shifts. Some glimpses suggest a corroded grail of Boards of Canada samples; motorik guitar, whispered messages, euphoric vistas and tangled memories all bathing in atomic glow.

Doch spätestens nach Veröffentlichung der EP »bunte farben« von Tjark bekommt dieser Ort seine ganz eigene musikalische Geschichte, und man lernt den jungen Künstler aus der Provinz von einer sehr intimen Seite kennen.

Nächstes Jahr feiern Ipecac ihr 25-jähriges Bestehen. Um die Feierlichkeiten einzuläuten, veröffentlicht das Künstlerfreundliche Label das 2005er Album General Patton vs. The X-Ecutioners zum ersten Mal auf Vinyl..., in einer limitierten Silver Streak-Ausgabe.

Die Veröffentlichung bringt Mike Patton, den legendären Frontmann von Faith No More, Mr. Bungle, Tomahawk und vielen anderen, mit einer der angesehensten DJ-Crews des Hip-Hop, The X-Ecutioners, zusammen. Die Zusammenarbeit kam zustande, nachdem die beiden Gruppen einige improvisierte Live-Shows zusammen gespielt hatten. Der süße Duft der Chemie wehte schon bald durch die Luft, und so beschloss man, einen Schritt weiter zu gehen und gemeinsam an einem kompletten Album zu arbeiten. Das Ergebnis sind 23 Tracks, die einen direkten Zusammenprall zwischen Hip-Hop und der wilden und verrückten Welt von Ipecac darstellen.

- Ltd. Col. LP: (Silver Streak Vinyl; zum ersten Mal auf Vinyl erhältlich; mit einem 24x36 ausklappbaren Poster und einigen metallischen PMS Farben)

LIMITED RED VINYL

Sheherazaad ist eine US-amerikanische Komponistin und Sängerin, derenzeitgenössische Folk-Pop-Synthese, produziertvon Arooj Aftab, einer neuen Welle der klanglichen Innovation aus der Diaspora Teil wird. In der modernen Welt ist Migration omnipräsent. Sie durchzieht sämtliche Lebens- und Alltagsbereiche, steckt oftmals verschlüsselt in unseren Gewohnheiten. Während unzählige Menschen sowohl mental als auch körperlich mit nie da gewesener Aggressivität die Globalisierung vorantreiben, werden einst stabile "Genres" und Identitäten jeder Art zerlegt - aufgespalten und abgeschafft, überflüssig gemacht und wieder neu geboren. Alles migriert, alles ist in Bewegung. In genau diesem fluktuierenden Feld findet Sheherazaad Inspirationen für ihre Songs. Ihr Minialbum Qasr entstand während einer Phase der familiären Entfremdung. Auch die Trauer über einen Todesfall in der Familie und die rassistische Polarisierung ihres Landes, das plötzlich kaum wieder zu erkennen war, prägten die Aufnahmen. Der Titel des Albums bedeutet auf Urdu (der Nationalsprache in Pakistan und einigen indischen Bundesstaaten) so viel wie "Burg" oder "Festung". Und tatsächlich ist Qasr ein Monument: Es verkörpert die Last der Vertreibung, die widersprüchlichen Sog- und Anziehungskräfte der Diaspora - und das schreckliche Problem der Auslöschung, des Vergessens der eigenen Wurzeln. Um genau diese Art der Erfahrung geht es, um die Gewalt, die Hysterie, auch um die Romantisierungen, die damit einhergehen, wenn Sheherazaad klanglich eintaucht in jenes In-Between - ins Reich des Dazwischen. Die Aufnahmen fanden im Herzen von Brooklyn im Glass Wall Studio statt. Die unbeschreibliche Energie der nächtlichen Sessions speiste sich dabei vor allem aus der einzigartigen (und einzigartig internationalen) Konstellation der Mitwirkenden: u.a. mit dabei waren auch Basma Edrees (Ägypten), Gilbert Mansour (Libanon) und Firas Zreik (Palästina); gemastert von Heba Kadry (Björk, Ryuichi Sakamoto). Auf Qasr lädt uns Sheherazaad in eine betörende und vollkommen neue Klangwelt ein: in ein Reich der Musik, das genau genommen noch gar nicht von dieser Welt zu sein scheint. Zugleich lässt sie die Fackel der nomadischen Erfahrung auflodern, gibt auch diesem Feuer einen sehr viel prominenteren Platz. Insgesamt entwirft die Künstlerin mit diesem betörenden Album ihre eigene Festung. Denn sie will auch uns dazu ermutigen, unsere eigenen Festungen, unsere eigenen klanglichen König:innen-Reiche und unmöglichen Traumwelten zu entwerfen

Violet Vinyl

Das 3. Imperial State Electric Albums 'Reptile Brain Music' jetzt erhältlich als Ltd. Violet Vinyl. Imperial State Electric ist eine schwedische Rockband, die 2010 von Nicke Andersson (Entombed, The Hellacopters) mit Dolph de Borst (The Datsuns, The Hellacopters), Tobias Egge sowie Thomas Eriksson gegründet wurde. Empfehlung geht raus an alle Rock N Roll-, Power-Pop-, Hellacopters- und Beatles-Fans!

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflexions' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

Intriguing co-op release from a bunch of exciting entities. Don't sleep. TIP!

Instrumentation:
Krisitan Poulsen: Guitar
Mathias Saedrup: Guitar
Sebastian von der Heide: Drums, Percussion
Max Stocklosa: Percussionsynthesizer, Xylophon, Voice

Mixing: Max Stocklosa and Sebastian von der Heide
Mastering: Michael Mørkholt

Cover: Kevin Kemter

Co-published by the following labels:
Sensorisk Verden
Iriai Verlag
Trii Musik
Spost World
KP Entertainment

Recorded in:
Berlin
Cologne
Virum
Copenhagen
between 2022 and 2023

"The Blinders make their return today with ‘Brakelights’, the first track to be taken from their forthcoming third album, Beholder, which is released on Friday 1st March 2024 via Funhouse Recordings/ EMI.
The perfect introduction to their new album ‘Brakelights’ drips with a dark atmospheric intensity which equally lurks across the albums other 9 tracks. The Blinders are an English alternative rock band originally from Doncaster, now based in Manchester, England. Beholder shares a frenetic energy with their previous albums but there’s a new depth both lyrically and musically to the album. With a visceral urgency live to more than match the likes of contemporaries IDLES or Fontaines DC, The Blinders take their brooding and intense live show, which recalls the dark atmospherics of The Bad Seeds or peak-period Bunnymen around the UK in March"

From Karma Recordings comes their fifteenth EP. For this outing we thought we’d bring back the immense remixing talent of Billy ‘Daniel’ Bunter and Sanxion. With over thirty years in the game who can argue with this. They have taken the original Acid jungle version and turne dit into a bouncy four to the floor club smash. Dan has been playing this out for a good while now and it’s been rinsing dancefloors and festival fields throughout summer 2023. Keep the vinyl on and it glides into the original more jungle Acid vibe from the Karma Krew. Who are they ? Nobody knows !! Flip the vinyl over and we once again have a superb track from the man like DJ Terrace. Every time he sends me a track I’m a little surprised again at what he can do and he certainly is a Karma favourite. The nit smashes Dubious with a track that is half jungle, half modern day dnb which makes you want to bass face all over the place. Another slammin’ 4 tracker from our stable !

Texas based producer Ben Hixon has been garnering a wide following with his clever old-skool influenced house tracks. The feature track 'ND Fresh', spreads its' wings over the entire A-side. This house builder has the ability to tear the roof of the party. A strong, tribal and urban builder that creates a scene on the dancefloor. With his background as a multi-instrumentalist and recording engineer, you get an interesting and unique approach on rhythm within the house genre. The two B-sides offer up some great material as well. 'As You' is a soulful stunner that gives off strong deep Chicago vibes. 'I Smoke!!' is the banger of the bunch that will send any party into overdrive. It's great to see and hear someone is making such strong house music from the south there in America. Top Notch!

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

'Reet' is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969.

Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake, Bridget st John, Reet Hendrikson deserves wider listening and recognition.

Reet Hendrikson was born in Estonia only months before the "great escape" into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past.

When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn't takeAndres Raudsepp ( of raindeer records)long to bring her to a recording studio. "Reet – Estonian folksongs" appeared in 1969.

Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while..

Reet Hendrikson died in Stockholm in the autumn of 2000.

With this legendary LP, "Jazz Evening with Aura," whose first edition was released in February 1974, Electrecord inaugurates the series of reissues of essential albums in romanian music on vinyl, audio cassette, and CD formats. In the exact 50 years since its release, this album by Aura Urziceanu – accompanied, during the two afternoons of the recordings, by the Bucharest Septet, a group of formidable instrumentalists – has become an object of veneration for many generations of music enthusiasts in both Romania and abroad. "Jazz Evening with Aura" defines the local jazz sound of the mid '70s – intense, playful, tender, versatile, and accomplished – placed within a framework that the late Aurel Gherghel inspired called, in the text on the back cover of the 1974 LP, "a jazz of romanian inspiration and atmosphere."

Taken from the Clone Records Sonic Transmutations compilation the trippy ''Darkheart Energy'' by Orlando Voorn in his Frequency guise comes in the original instrumental and 3 remixes from Marcal, the Lady Machine and our own Lenson! 3 different heavyweight techno bunker interpretations, all worthy of the Repetitive Rhythm stamp.

The mind-flowing 'Dices' somehow did not make it onto the Grupo Pan's only album and instead found its home on the B side of a long-forgotten 1972 single. One can only wonder why this great song with a devastating guitar riff and an irresistible rhythm section was not granted a place in the grooves of the LP of the Venezuelan band_ Late 60s hard rock sounds made by salsa musicians! On the flip, a rare hard psych gem from Peru by the one and only Jean Paul "El Troglodita". First time single reissue! The few records released by Venezuela's most prolific percussionist, Nené Quintero, and his first band sound like a somewhat artisanal classic rock recording from the end of the 60s but made by "salseros" (as involved in Salsa music). Their only LP "Pan" (recently reissued for the first time on Vampisoul) succeeded in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. Grupo Pan also released a bunch of 45s mostly comprising LP tracks. However, the mind-flowing 'Dices' somehow did not make it onto the album and instead found its home on the B side of a 1972 single. Enrique Tellería (aka Jean Paul) was nicknamed "El Troglodita" (The Caveman) due to his wild performances in his native Peru. Screams, extreme body shaking and, quite often, stage destruction were part of his energetic shows. His hard psych gem 'Fuera de Atracción' was originally released on a much sought-after 45 on the tiny Peruvian label Rey Record. We thought it would be a perfect pairing with the stunning A side to finish off this single. First time single reissue!

BDQ Records are delighted to release Lydia's new 45 Sweetheart, it’s a soulful rockin' tune backed on the other side by loser for a touch of RnB, Lydia's vocals are just amazing, and with each release she just gets better and better.

Der großartigen Sängerin Billie Holiday nähert man sich immer sehr respektvoll, behutsam ihrem tragischen Leben gegenüber, aber auch voller Bewunderung der fantastischen Musik, die sie erschaffen hat. Die aktuelle Analogue Productions/Verve Edition in 45rpm, verteilt auf zwei super sauber gepressten Vinyl-Scheiben, unterstreicht dies akustisch mehr als deutlich. Dabei ist die Tatsache, dass die Aufnahmen in Mono sind, ein soundtechnischer Haupt-Gewinn. Der Klang gewinnt dadurch definitiv an Intensität, Tiefe und Druck. Die Scheibe erschien erstmals 1955. Eine geniale Band bannte damals 12 wunderbare Lieder auf die analogen Studiobänder. Neben Sängerin Billie Holiday agieren noch die Schlagzeuger Larry Bunker und Alvin Stoller, Harry „Sweets“ Edison an der Trompete, Barney Kessel an der Gitarre, Jimmy Rowles am Piano und Ben Webster am Saxophon. Den Bass teilen sich Red Mitchell und Joe Mondragon. Der Opener „Do NothingTill You Hear From Me“ ist maximal fesselnd. Holidays Stimme erfüllt den ganzen Hörraum. Kessel spielt dazu wunderschön bluesig-trockene und wohlklingende blue notes. Websters Saxophon ist so unendlich präsent, dass man unschwer meinen könnte, man säße inmitten des Ensembles. Mit Swing und Maxi-Groove kommt „But Not For Me“. Jazz as Jazz can! Herrlich perlen die Klavierfiguren von Rowles. Der Kontrabass kommt dabei so unendlich druckvoll und dynamisch. Das muss man hören, fühlen und spüren. Holidays Stimme hat dabei soviel Klangfarbe, dass man nur noch Schwärmen kann. Die zwei 180 Gramm schweren LPs kommen im ästhetisch gestalteten Klappcover. Dieser audiophile Edelstein gehört in jede gut sortierte Schallplattensammlung, und zwar definitiv schrankenlos Genre-übergreifend. wb

Remix package deluxe! Ede & Deckert feat Sargland’s catchy new wave post punk hit Immer gets the special treatment. Their tale of lover’s grief or delight is being put through the mangle by a varied bunch of remixers. Literally taking the advance party its Berlin’s Narciss with two different takes. Known to be without fear of emotional peaks and blessed with the usual sense of delight, they manage to hit the nail on its head. The Venice Remix is a master class in vintage sounds coming through new speakers: primed for the prime time, while the Salford version does exactly what the name implies: for lads and lovers.

Followed up by the simplicity of grass roots house music. Cinthie channels her inner DJ Duke and choreographs the indie dance steps back to basics. The Curses Vocal keeps the instrumental, stays in the original vibe, but switches the vocals – and the language. Finally, Kid Simius takes us on a bumper car ride somewhere between Miami Sound Machine and Yazoo.

Immer works its magic in every way for everyone and now on almost any dance floor.

These recordings of Gongs Orchestras were made during Funeral Ceremonies in two Kung villages and one Jaraï village in Ratanakiri province, Cambodia by Laurent Jeanneau (Kink Gong) in 2003 and 2004, at a times when jungle had not been replaced by rubber plantations. Focusing on funeral's ceremonies, those hypnotics pieces are intense and haunting harmonics sonic experiments.

"Adventure brought me to south-east Asia, not academic research. I was based on and off in Banlung, capital of Ratanakiri province between 2003 and 2006. Finding gongs orchestras became my obsession, I've witnessed different contexts in which gongs were being performed, but the most brainwashing ceremonies were the funerals, because they would never end, I remember leaving the 3 days funeral ceremony of a prominent Jaraï dead man in Tang ji village at the border with Vietnam and still hearing the gongs the entire next day going back home through the jungle". - Laurent Jeanneau (Kink Gong)

"Many of the ethnic minority groups, the Jarai, Kac_, Tampuan, Kavet, Kreung, Brao, Bunong, Mnong, Edé, and others, are hill-rice farmers who live in the uplands of the Annamite mountain chain. Collectively these groups have been known by many names, including a number of disparaging terms in local dialects, such as moï, kha, phnong, and others. The term Montagnard was applied to them by the French during the colonial period, and was used by the US military and in popular discourse in English during the United States-Vietnam War. In scholarly and popular literature during the mid-twentieth century these upland farmers were also called hill tribes. I have opted for the word highlanders as a relatively neutral term that avoids the semantic burdens associated with these other namings." - Jonathan Padwe, The book Disturbed forests fragmented memories.

Finally here, the first release in our long planned Parish label reissue program. Students of late '80s digital reggae know that Edgar Whyte's Parish label is one of the finest labels of the period, issuing many singles and albums, with a unique selection of artists and a bunch of killer original rhythms. We've been working on this program a long time and are very pleased it's finally here. There will be a killer selection of reissue and previously unreleased tunes coming in 2024, all from master tapes. We figured it's only fitting to start off with what is likely the most in demand Parish single for '80s digital collectors, and from one of the label's signature artists. Everton Chambers' "This Love of Mine" came out in 1988 and is extremely tough to find, a ruff piece of stepping digital, even favored for play by the late great Jah Shaka.

Back in stock.

Here’s a brand new Rob Stow four track EP ! His first full EP for 20 years.

Rob was a huge part of the birth of the label back in 2000. During 1998/1999 he ran his own label Gravitation and played live with Jerome Hill under the name Groove Asylum, amassing a bunch of tracks which led to the birth of Don’t as a home to release them for others to play.

Rob knows his onions when it comes to Techno and this record is everything it should be. Hard hitting, expertly produced, minimal with no clutter or pointless frills but instead, just the right amount of lean dance floor funk.

Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O'Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone's compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O'Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

One of Europe's most popular alternative / dark wave bands. Lebanon Hanover have over one million monthly listeners on Spotify. Following their first US tour in over a decade, Lebanon Hanover returns with a soul-stirring double A-side single release, marking their first new material since the captivating 2020 album, 'Sci-Fi Sky.' Now, the enigmatic duo of William Maybelline and Larissa Iceglass beckons listeners into unventured sonic domains, intricately weaving folk-driven acoustic dream pop with the vulnerable essence of post-punk in a contemplative exploration of life's ephemeral yet profound nature. Embarking on a Cure-like sonic voyage reminiscent of the 'Head on the Door' and the 'Kiss Me' era, title track 'Better Than Going Under' manifests as a romantic, sombre daydream. William Maybelline's brooding baritone intertwines with sighing back vocals, narrating an ode to life's fleeting yet boundless vistas. The acoustic strums initiate a folk-driven narrative which, when coupled with a celestial choir, crafts a contemplative soundscape of cautious optimism, reminiscent of Echo and the Bunnymen or The Church.. KYIV: Bearing the name of Ukraine's capital, 'KYIV,' voiced by Larissa Iceglass, delves into a narrative reflective of the sorrow and despair entwined within war-torn regions like Ukraine and beyond. The acoustic guitar and drum machine create a Cocteau Twins' 'Treasure'-esque soundscape, evoking a melancholic yet beautiful auditory journey. Iceglass's voice, transitioning from her husky baritone to a more resigned lament, embodies a poignant reflection on the harsh realities faced by those embroiled in conflict-ridden landscap

Specimen Records will kick off with "Zero Plague" January 2024 after a long hiatus from 2022 through to 2024. Specimen are now proud to present such a prolific artist as MANASYt whose level production has reached so many labels, along with extensive Dj work throughout Europe.

Zero Plague - another neurovision broadcast by replicant agent MANASYt. The opener - is a dystopian death march anthem, guided by a rolling snare, thick kick and throbbing bass. Arpeggios sounding like wasps on acid hover in the background, adding to the atmosphere of imminent danger!
Angellust - a hectic breathless industrial electro monster. Fuzzy distorted bass is driving us through a dark desolate territory. Complete with chaotic claps, minor synth stabs, a siren-like clinical pad and Petar's hopeless vocals (reminiscent of his days fronting metal bands).

Next is the Pestilent Mix for SNS Sensation new wave masterpiece "Mirror Radio". Sebastian is also the voice of UK duo Heartbreak (with synth wizard Ali Renault). Petar says : "It's a very impulsive work that sounds nothing like the original! Blending two different beats, mangled voices and psychotic off-kilter leads. Total madness."

First on the flip is the Novichok Mix for Poladroid. Petar and Vadim go way back to Roulette Rekordz in 2003, so this colab is natural, to say the least. It's the only time where the tempo slows down a bit on this EP. Bubbling worm-like bass, metallic percussion, cold windy pads and a classic electro lead take you on a journey to a soulless barren planet.

At last "In Deep Tongues". A heady schizophrenic exercise. A commanding beat, a grotesque polka bass followed by a paranoid synth lead pull you through a darkened maze with no exit. Underwater gurgles and fearsome corroded effects fill the air, no escape!

After 20 years, MANASYt hasn't slowed down or mellowed his intense immoderate sound one bit! And "Zero Plague" is undoubtedly a true testament to that!

He is an artist who couldn't care less about trends or hype, and whose main driving forces authenticate passion for this genre. Some of his tunes resemble future horror movie soundtrack, others a visit to a mental clinic, but most sound like what hostile aliens would listen to while attacking Earth.

Bulgarian dark mastermind Petar Tassev Manayst has been rocking his brand of Nuroelktro since 2003. He is responsible for a vast array of menacing titles on labels such as Touching' Bass, Kommando 6, Musar, and the infamous Bunker, along with 40 others.
MANASYt is currently based in Xiamen, China.

Alara Music is releasing the new album of OXY, the new stunning electronic project by Ivan Pavlov (COH) and Sasha Galianov (Shortparis).

OXY is a transient project combining talents of Ivan Pavlov, major electronic artist better known as CoH who has collaborated with Coil, and Sasha Galianov, the main force behind the electronic sound of the avant-garde performance collective Shortparis. The two once met at a festival where they performed a semi-improvised live set. The first performance sparked mutual interest in continuing joint experimentation, which, after a series of concerts, eventually led to this studio recording.

The name of the album is constructed of the two titles presented each on one side of the LP. The first side, AETHER, delivers a powerfully charged contemplative exploration, in which the two seem to carefully study the sound of each other's instruments. The search for balance between the analogue and the digital reveals a murky terrain of focused sonic pressure interwoven with potent silence filled with echoes. Towards the end, AETHER, amorphous in the beginning, gains structure and rhythm, as if preparing the listener to its more agitated sequel, GUST.

Side two, starting with trademark minimalistic patterns of CoH quickly picks up in intensity and wanders into the domains of digital heavy-metal, in which Sasha's menacing guitar riffs are meticulously disjointed in favour of power focus. Then GUST takes the listener through a minor apocalypse, past a few relieving joyful moments of temporal enlightenment, and towards a strange peace found in a disorienting, synth-framed collage of acoustic guitar sounds.

AETHER GUST is a record that requires listener's full attention, offering in return a captivating journey though peculiar landscapes at the intersection of the worlds of two adventurous music explorers, exchanging their sonic beliefs and passions. An intense journey through a landscape of contrasts, between the warmth of analogue sounds and the aridity of demanding electro, both minimalist and abundant. This journey, these intersections, but also this permanent encounter between analogue and digital, are magnified by the physical version of AETHER GUST: it comes as a bundle of both Vinyl + CD versions of the album, all in a 12" vinyl sleeve then nestled in a thick crafted carboard black embossed sheath.

LDI Records is proud to present V, the latest EP from Dutch electro artist Versalife (aka Boris Bunnik aka Conforce). This four-track EP features Versalife's signature blend of classic and experimental electro. This is Versalife at his best. V showcases his amazing production skills, with detailed drum patterns, hypnotic bass and lush pads. This EP is an exciting journey where Versalife keeps pushing the boundaries of electronic music, while staying true to his roots.

Messages From The Spliff Bunker by Mushroom, released 2 February 2024, includes the following tracks: "I’m ok, you’re not ok" and more.

This version of Messages From The Spliff Bunker comes as a 2xLP in a(n) Gatefold Sleeve packaging.

Das 3. Imperial State Electric Albums 'Reptile Brain Music' jetzt erhältlich als Ltd. Red Vinyl. Imperial State Electric ist eine schwedische Rockband, die 2010 von Nicke Andersson (Entombed, The Hellacopters) mit Dolph de Borst (The Datsuns, The Hellacopters), Tobias Egge sowie Thomas Eriksson gegründet wurde. Empfehlung geht raus an alle Rock N Roll-, Power-Pop-, Hellacopters- und Beatles-Fans!

Achtung, Babyboomers und Digital-Ureinwohners: Fettes Brot doktert sich mit der hausinternen Zeitmaschine retour in die hinteren Jahre des vorherigen Jahrtausends und buddelt die ersten vier eigenen 90s-Hip Hop-Meilensteine wieder aus. Anders ausgedrückt: Es gab ein Leben vor dem Internetz - und die Vorstadtkrokos von Fettes Brot planschten damals schon im Haifischbecken Musikindustrie. Doch, wer weiß das noch? Auf den FeBro-Konzerten der letzten 10 Jahre lief kaum mehr 'classic material' als "Jein", "Nordisch By Nature" und "Da Draussen", die Tonträger bis 2000 gab's seit fünf Sommern nur noch 2nd Hand zu kaufen und null davon je legal-digital. Nur: die Bevölkerung braucht das. Zum Glück hören die 3 Partypiepen manchmal sogar zu und schworen sogleich Besserung. Das Brot der frühen Jahre erscheint endlich wieder in vier frischen Portionen auf LP - neu gemastert in old school Stereo, erweitert um einen Batzen Bonüsse (B-Seiten, Remixe, Features, Demos und Live-Perlen), verziert mit luftigen Lebenslügen der 3, ergänzt um reichlich zwielichte Zeitzeugenberichte und zugeschüttet mit einem Füllhorn verschollener Fotos.

MITSCHNACKER (1992-1994):
- Als Deutschrap laufen lernte - die erste Fettes Brot EP wieder auf Vinyl + Bonüsse!
- Mit den Bomben "Definition Von Fett" und "Wir Können Auch Anders", dem Theme-Song zur ersten deutschen Reality TV-Show "Das Wahre Leben" und Gastauftritten von u.a. MC Rene, Der Tobi & Das Bo. Original EP + 4 Bonustracks.
- Orangefarbenes Vinyl im Gatefold, Remastered, um Fotos und Essays erweitertes Artwork und mit MP3-Downloadcode des ganzen Dingens plus 3 zusätzlichen digitalen Bonustracks (u.a. "Reimheitsgebot" von der 5-köpfigen Fettes Brot-Urbesetzung)

Achtung, Babyboomers und Digital-Ureinwohners: Fettes Brot doktert sich mit der hausinternen Zeitmaschine retour in die hinteren Jahre des vorherigen Jahrtausends und buddelt die ersten vier eigenen 90s-Hip Hop-Meilensteine wieder aus. Anders ausgedrückt: Es gab ein Leben vor dem Internetz - und die Vorstadtkrokos von Fettes Brot planschten damals schon im Haifischbecken Musikindustrie. Doch, wer weiß das noch? Auf den FeBro-Konzerten der letzten 10 Jahre lief kaum mehr 'classic material' als "Jein", "Nordisch By Nature" und "Da Draussen", die Tonträger bis 2000 gab's seit fünf Sommern nur noch 2nd Hand zu kaufen und null davon je legal-digital. Nur: die Bevölkerung braucht das. Zum Glück hören die 3 Partypiepen manchmal sogar zu und schworen sogleich Besserung. Das Brot der frühen Jahre erscheint endlich wieder in vier frischen Portionen auf LP - neu gemastert in old school Stereo, erweitert um einen Batzen Bonüsse (B-Seiten, Remixe, Features, Demos und Live-Perlen), verziert mit luftigen Lebenslügen der 3, ergänzt um reichlich zwielichte Zeitzeugenberichte und zugeschüttet mit einem Füllhorn verschollener Fotos.

AUF EINEM AUGE BLÖD (1995):
- Der Deutschrap-Klassiker - das erste Fettes Brot Album gibt es nun endlich wieder auf Doppel Vinyl!
- Original-Album inklusive "Meh' Bier", "Nordisch by Nature" (9-minütige Originalversion!) und mit Gastauftritten von Fischmob, Eißfeldt (aka Jan Delay), Der Tobi & Das Bo, u.a.
- Weinrotes+hellblaues Doppelvinyl, Remastered, um Fotos und Essays erweitertes Artwork und mit MP3-Downloadcode des ganzen Albums plus 7 zusätzlichen digitalen Bonustracks!

This is the new 20th anniversary edition of one of Soul Jazz Records’ classic Studio One releases, now available as a one-off special blue vinyl very limited-edition pressing (2000 copies worldwide). 


Studio One Roots set the standard for Soul Jazz Records’ long-standing series of Studio One collections and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining crack-session men groups of Jamaican reggae history – The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. As ever the album is filled with a mixture of
seminal cuts and super-rarities from the vast vaults of 13 Brentford Road. 
Stand-out tracks include Alton Ellis’s Blackish White, a surreal and powerful Afro-centric dream, Count Ossie Nyabinghi and Rastafarian drummers genre-defying interpretation of Booker
T and The MGs ‘Meditation’, Willie Williams awe-inspiring versioning of the Skatalites seminal Rastafari anthem Addis Ababa and many, many more.
 This album has been fully digitally remastered, analog cut and packaged complete with the following: Original sleevenotes by Lloyd Bradley (author of When Reggae Was King),
compiled by Mark Ainley (Hones Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner
sleeves.
 “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection” All Music

Soul Jazz Records’ long out of print classic ‘Studio One Dub’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly a heavyweight special limited edition one-pressing only orange 2xLP vinyl + download.

Secondly, there is also a new special limited-edition one-off pressing edition orange-pressed CD enclosed in jewel case and slipcase.
And thirdly there is a very limited unique new one-off pressing orange-cased cassette format (200 copies only)!
18 years on from its original release Studio One Dub remains super-hard hitting featuring classic + rare Dub tracks from Studio One, many available on vinyl for the first time in over thirty years.

Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks.

The album also comes with two rare interviews - one with Clement 'Sir Coxsone' Dodd about dub and dubplates and one with the sound engineer Sylvan Morris, talking about his groundbreaking period at Studio One and his many innovations that he evolved there.
In short, this is a 100% essential album!





"Almighty slab of dub featuring loads of rare and classic dub versions of Studio One's foundation tracks." Rough Trade

“Quite a treat awaiting here for the unsuspecting reggae faithful – as always with Soul jazz chock full of a bunch of big tunes – but here in version form lies some of the freshest rhythms and most radical revisions of some of the greatest Studio One music. The darkest and the absolute deepest in the series – naturally essential.” Boomkat

"Continuing the Studio 1 Series this album features classic and rare Dub tracks from Studio One, many available for the first time in over thirty years. Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”,
John Holt’s “Hooligan”, Freddie McGregor’s “Bobby
Bobylon” plus many more rare tracks. In short, this is an essential album!" Wax Museum

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

In der zweiten Hälfte des Jahres 2022 widmete Neal Morse seine kreativen Bemühungen der Erarbeitung einer neuen Rock Oper, nach der
erfolgreichen Veröffentlichung von "Jesus Christ the Exorcist". Die Inspiration floss und das Ergebnis ist eine fast zweistündige Musik, die die
Geschichte von Joseph, der für seinen bunten Mantel bekannt ist, durch die Brille des progressiven Rock in einem ganz eigenen Stil erzählt.
Anstatt beide Teile gleichzeitig als Doppelalbum zu präsentieren, entschied sich Neal dafür, die neue Oper in zwei separaten Bänden zu
veröffentlichen. Er war der Meinung, dass die Stärke sowohl der Musik als auch der Geschichte diesen Ansatz rechtfertigten, da jedes Album für sich
als Zeugnis seines inneren Wertes steht. "Der Träumer - Joseph: Part One" endet mit Joseph, der zu Unrecht eingekerkert wird. In "Die
Wiederherstellung - Joseph: Part Two" wird die biblische Erzählung fortgesetzt, in der beschrieben wird, wie Josephs Weisheit und Intelligenz ihn zum
Vizekönig von Ägypten und schließlich zur Wiedervereinigung seiner Familie führt. Erneut übernimmt Neal Morse die Rolle des Leadsängers, während
eine beeindruckende Reihe von Gastmusikern, darunter Ted Leonard (Spock's Beard, Pattern Seeking Animals), Matt Smith (Theocracy), Ross Jennings
(Haken) und Jake Livgren (Proto-Kaw, Kansas), sich ihm in diesem zweiten Kapitel anschliessen. Sie arbeiten mit Mitgliedern der Neal Morse Band
zusammen, wie Bill Hubauer und Eric Gillette, um nur einige zu nennen. Gemeinsam hauchen sie dieser bekannten Geschichte neues Leben und
Musik Leben ein, die verspricht, Progressive-Rock-Fans erneut zu begeistern.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Nach über 30 Jahren erscheint die Complete Discography mit vielen Songs erstmalig auf Vinyl! Die Indie-Folk-Punk Band machte Anfang der 90er nicht nur regional auf sich aufmerksam in dem sie auf Studi-Parties und Hausbesetzungen spielte, auch bundesweit auf Festivals und Konzertbühnen waren sie gern gesehene und vor allem gehörte Gäste. Der Output der Band, die nur 3 Jahre existierte war beachtlich! Musikalisch bewegt sich der Sound zwischen Violent Femmes, den Go-Betweens und Hüsker Dü Riffs - eine doch eigenständige Mixtur, nicht zuletzt auch aufgrund der markanten Geige und dem unterschiedlichen Background der einzelnen Members. Enthalten auf dieser liebevoll aufgemachten LP sind die vier Tracks der "water" EP (1991), die 5 Songs der "nightingales in diving dresses" MC (1992) und "strong" von dem "mom, flight 13 to the moon, please" 2xEP Sampler (1993). Das Album kommt mit Foto- bzw. Lyric Beiblatt und wurde von Markus Heinzel (Liquid Studio) remastered.

The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.

David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.

The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.

Credits:

All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023

To mark the 15th year of both Static Shock Records and Hygiene, we bring you the '15 Minute City' EP, which is also the 100th release of the label. Has it really been four years since their ‘Private Sector’ album on Upset the Rhythm?? In that time the band have had a small tweak in line up with the addition of Lucy from Primetime on bass. Hygiene have returned with their most urgent and essential recordings and not many bands can say that after 15 years. Lead track '15 Minute City’ is an absolute bundle of DIY greatness…it has the chaos and chorus of one the classic 70’s / early 80’s Swell Maps 7”s. ‘L.T.N’ is a robotic and stiff post punk song that doesn’t outlast it's welcome as it lasts just over a minute. Last track ‘Petrol’ is a childlike punk gem that gets stuck in your head after one play. Hygiene are one of the most underappreciated bands in London in 2023.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

The Bollock Brothers are a British punk act formed in 1979 by the London promoter, DJ, and manager Jock McDonald. They are best known for their English language cover of Serge Gainsbourg’s song “Harley David (Son of a Bitch)” (originally in French) and Alex Harvey’s “Faith Healer”. ​

As well as being known for their original songs “Horror Movies”, “The Bunker”, “The Legend Of The Snake” and "The Slow Removal of The Left Ear of Vincent van Gogh" which featured Martin Glover of the band Killing Joke, they are known for their release of cover versions by artists Led Zeppelin, The Sensational Alex Harvey Band, Steppenwolf, David Bowie, and Vangelis among others.

After a decade-long hiatus, Bristol-based shoegaze ensemble, The Fauns, have reemerged from their secret bunker with eagerly anticipated third album, 'How Lost' set for release Jan 19th, 2024 via Invada.

The Fauns’ journey began in 2007, self-releasing their eponymous debut album in 2009, followed by the 2013 release of "Lights." These two works garnered warm acclaim from both critics and fervent shoegaze-loving fanbase alike - arriving into an atmosphere rekindled by the return of My Bloody Valentine.

This latest album bridges The Fauns' transformation from their earlier incarnation to their current evolution. The tracks traverse a spectrum of styles, ranging from intricate, guitar-driven sci-fi fantasies to industrial-tinged new wave compositions. The hallmark shoegaze elements are now stretched over gritty pulsating electro beats.

Moreover, the album marks a shift in lyrical themes and attitude. Poignant tracks coexist with narratives of vodka-infused nights in dimly lit clubs, reflecting a departure from introspection. "This album is less about the melancholy associated with the genre and more about getting our audience dancing.”

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

'Erotic Probitoic' is Nourished By Time’s debut EP on Scenic Route, following hot on the heels of his featured track , ‘Wild Thang, Sweet Thang’, on the critically acclaimed Scenic Route 16-track digital compilation, The Road Less Travelled Vol.1, supported by BBC 1Xtra, Dazed, CRACK, BBC 6 Music, Lot Radio, NTS, The Wire and Resident Advisor. The Erotic Probiotic is an intimate glimpse into the world of Baltimore native, whose two track EP shows the duplicity of this exciting singer/songwriter/producer.

Side A, ‘Give It Away’, a beautiful multi layered serenade, showcasing the breadth of his vocal range, with delicate textures sprinkled throughout; heartaching guitar riffs and celestial chords enveloping you into this contagious dream pop melody. Give It Away is a lush R&B ballad about choosing yourself over love but choosing love over pride. The Live performance video was shot at his sold out Servant Jazz Quarters show, in April, directed by Jono Canning.

Staring Into The Fireplace, a relatable anarchist anthem for anyone working a dead-end job, filled with angst and a foreboding energy driven by eerie drums and a melancholy tone. Written whilst employed by Whole Foods during COVID , spraying down shopping carts, what he describes as “the most soul destroying job”. The song explores America’s social constructs moulded by race and capitalism, through his gravelly baritone vocals over lo-fi punk sound, with lyrics reinforcing his ‘bun down Babylon’ sentiment. Along with a self directed music video.

The Erotic Probiotic is the first EP with Scenic Route as he looks to cultivate his unique off beat, guitar driven pop sound in the lead up to his album.

PETE MOLINARI is a singer-songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.
He’s often described as a songwriter’s songwriter. Bruce Springsteen once publicly proffered: “Pete Molinari – if you don’t know anything about him, he’s great!”
Rome has a secret heartbeat, an underground and urgent pulsation whose memory is preserved within the walls of old recording studios, in the tales of veterans, and most of all in the grooves of the soundtracks of Cinecittà. Music that has always flirted with poetry.
Pete Molinari is a poet, and that's why his words perfectly blend with this pulsation.
That's why producer Luca Sapio chose to record "Wondrous Afternoon" among his Blind Faith Recordings and Maestro Piero Umiliani's Sound Workshop. The result is an album with a strong cinematic impact. The lesson of Motown applied to the sound of Rome.
Backed by Luca’s crack band better known as the Italian Royal Family, Pete Molinari sings with great expressiveness and soul, embedding his words like precious stones, exposing them in all their fragility and strength to the listener.

Der LP-Sampler der Chicagoer Shoegaze-Band Slow Pulp mit den beiden EP's 'EP2' (2017) und 'Big Day' (2019) macht die insgesamt 12 Songs erstmals flächendeckend auf Vinyl erhältlich. Für 'EP2' ist es die Vinylpremiere, 'Big Day' erschien anfangs nur in einer streng limitierten 12inch-Kleinstauflage. Cloudy Orange farbiges Vinyl.

The first bunch of remixes for Kito Jempere's Green Monster. The album itself was a versatile journey thought all music styles and patterns you can imagine, remixes are keeping the same direction.

EP opens with a remix from multi-talented and prolific studio genius Ewan Pearson, the man behind hundreds of remixes, production and studio engineering duties for artists like Tracey Thorn, Pet Shop Boys, Depeche Mode, The Chemical Brothers and many many more. And Mr Pearson is taking Kabwato on a journey! Originally recorded as two and half minutes as some say mid-album filler, this boat (kabwato in chewa language) is going deep down the tropical river and through breezy morning rainforest valleys. A perfect trip for your midday staying home alone errands or for your early morning ray of light at the bar with a beautiful panorama.

Same track is getting treatment from the mighty Cable Toy! Unmistakable peak time euphoria manifest - going back to my roots-esque piano meets 90s cable tv dance show house party!

On the flip is the remix by The Dawless. The Dawless are Ramil' Goddeem from LAUD and Sergey Gol'd, producer and owner of GoldxFish Music studio. They recently released their debut album "Broken Aux" on System 108, got remixed by DMX Crew and became residents of LOUD BOYZ label. The project has simple ethics: computers not allowed, only real gear and vibes. The duo has created a true rage rave anthem for Kito Jempere now. Having already been played in a lot of DJ-sets blasting through packed warehouses, now it became available to everyone.

EP closing opus is by Kito's frequent collaborator - UK born and Japan based producer Max Essa. Every Kito's album was accompanied by Max's remixes and this time he's delivering pure beauty again. Creating some Golden-era "8 1/2 weeks" vibes, Max transforms the track into a post-summer voyage anthem.

In the 1970s, Robert Cahen turned to the burgeoning field of video art, where he became a pioneering artist. He was originally trained in musique concrète, his creative background, and joined the Groupe de Recherches Musicales in 1972. The pieces on this record were composed in the GRM studios between 1971 and 1974. They testify to a lively inspiration and imagination combined with a precocious formal mastery that already carries the seeds of later developments, which the artist cleverly and inventively deployed in the field of visual arts. (François Bonnet, Paris, 2022)

--

«La nef des fous» (1974), 12’00

There are pieces of music whose title is obviously a mere label given afterwards to a finished product. And others, on the contrary, which develop in spiral around a bundle of images and impressions condensed into a few words. This is the case indeed with La nef des fous. However, this work by Robert Cahen oddly wraps itself around its title, with bends, breaks, and an impetus driven further every time to close a new circle, for such is the very essence of the spiral. This, at least, is the way I perceive the form of the work, with its theme-chorus which, in part one, both ponctuates and disrupts the emerging musical curve in various ways and at irregular intervals, as well as its broader and more open second part, which closes with a recollection of the beginning of the work. The challenge of a musical form justified by the topic it illustrates, right down to its gaps, its wanderings and its twists, and which would confer upon it the necessity of a profound logic, that of insanity, is the challenge attempted by Robert Cahen. In such a genre as tape music, so careful with respect to form, one can appreciate its audacity. La nef des fous, or Unity through heterogeneity, or Each to their own madness, but all in the same boat. This means that if we can listen to each of these sound characters, “broken chants”, which create the work for themselves, through the singularity of their delirium, we can also, from one to the other, trace the continuous chanting of a music that is inherently and spontaneously poetic, a music that carries “the unconscious under its skin” (Christiane Sacco). (Michel Chion, January 1976)

«Masques 2» (1973), 08’34

Concert version (for tape only) of an audiovisual work entitled Masques, in which the faces of old dolls and «masks», filmed during the Basel Carnival, were projected in 16mm. Masques 2 is a metaphorical version of Masques in which music is featured in its arcane musicality.
Through its concrete and suggestive music Masques 2 aims to bring to light hidden memories, buried within us, thus enabling an awakening, the resurgence of events from our own history. (R. C.)

«Plurielles» (1971), 08’35

Premiered at the Paris Biennale, 24 September 1971. Suite based on the score of a TV film directed by Sophie Talmon.

«Persona» (1971), 08’34

Premiered at the Paris Biennale, 24 September 1971.

«Passé composé» (1971), 05’29

Clémentine Delauney, Marina La Torraca und Anna Brunner bündeln die Kräfte ihrer wohlbekannten Stimmen in EXIT EDEN, einer Band, die alles
vereint, wonach das Hier und Jetzt verlangt: Weltoffenheit, Selbstbewusstsein, Unabhängigkeit und der unbedingte Wille, sein ganz eigenes Ding zu
machen.