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On this pounding release, Lilies (Gothenburg, SE) welcomes Somewhen and Henning Baer for remixes of tracks from Lilies7 and Lilies8, along with original music by Billie Jo and label heads Sailor Juul vs DJ Lily.

“Mt. Hadamard National Park” is the Hallow Ground debut by composer, programmer, and instrument designer Matthias Puech. Informed by mathematical and artistic approaches that aim to both contemplate on and control complexity, the eponymous five-part composition explores natural and mystical forces through what he calls “audio-naturalist noise”. The composition is complemented by two further pieces that follow similar concepts: “Suspension” emulates the chemical phenomenon of the same name, while “Imperceptible Life” hinges on the musical possibilities of stridulation. Over the course of the entire album, Puech’s singular take on electro-acoustic and electronic music creates unique sonic spaces as much as it pays its dues to the unpredictability of the world that we inhabit. Jacques Hadamard was a pioneer among physicists and mathematicians who, in the early 20th century, were puzzled by processes that are deterministic but hard to predict. The sounds, arranged in sweeping and tense dynamics, serve as multiple agents within a complex system. The synthetic flora and fauna created through the use of the composer-performer’s instruments feels uncannily familiar or even disturbingly hostile at times... This process is mirrored in aquatic yet tangible sounds as well as dynamics that slowly converge towards density before the composition ends on a quiet note. The 14-minute-long “Imperceptible Life” is based on a 2019 live performance first conceived as a full-scale test drive of some new electronic equipment Puech was designing at that time. It explores the musical potential of stridulation, the act of creating sounds by rubbing together certain body parts—in the insect world, a common means of communication. Again, Puech’s approach is neither purely naturalistic nor only mimetic. Rather, “Imperceptible Life” offers yet another artistic reflection on the theme of chaos and order, and how human perception and emotion relate to it.As a whole, “Mt. Hadamard National Park” thus not merely mirrors natural phenomena but transforms them in ways that are emotionally evocative: the complexity and apparent arbitrariness of Puech’s compositions reveal an underlying beauty that is equal parts haunting and comforting.

Sebastian Gummersbach's Yore debut brings with it a further refinement of the material he's created for the German label Raw Soul. It specializes in material infusing modern house and techno grooves with flavourings of jazz, funk, and soul, the result a timeless take on house music. Anyone who's been keeping tabs on Andy Vaz's Yore releases will realize immediately that the same description could be applied to his imprint.

Given all that, it's easy to understand why Gummersbach, a producer hailing from Neuss, Germany, is such a natural fit for Yore. There's no small amount of artistry in play in the EP's four tracks, each one arguing strongly on behalf of his skills as an arranger and mood shaper. No cut better shows that than the opening “Rough Edges,” which is, frankly, anything but rough. He builds the arrangement methodically, starting with warm, billowing washes and then layering in step-by-step dub atmospherics, a strutting house pulse, congas, and synth ear-worms—a seductively smooth intro to the release.Gummersbach might have been listening to Hall and Oates's “I Can't Go for That (No Can Do)” prior to crafting “Calming Solitude” when the latter sounds so much like a clubby instrumental riff on the hit. Here too silky chords and synth textures merge with a rousing beat pattern to draw listeners to the dance floor.
On the flip side, “Eden” initially changes things up with a classic B-Boy beat and handclaps, but the tune gradually aligns itself to the character of the EP's other body-movers, even if acid-tinged synths become part of the mix. Closing out the release is the most techno-oriented of the four cuts, “Undisclosed Thoughts,” acid once again central to the track's identity and the chugging groove frothy. The word Eden naturally calls to mind the Biblical paradise, and consistent with that the tone of Gummersbach's EP, its A-side cuts especially, is generally smooth, serene, and harmonious; it's also, as stated, a seamless addition to the Yore catalogue.

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome."

Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones – a step forward from Cluster's 1971 self-titled debut, which had all untitled songs. On "Im Suden," hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener "Live In Der Fabrik" dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay.

As Roedelius told Uncut magazine in 2022, "This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again – as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique."

It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band – resulting in the supergroup Harmonia who would make their first album together the following year.

Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, "Choreological Exchanges" is part of Hastings Of Malawi's continuing investigations into the medium of communication itself. Prior to telephony becoming digital, all phone calls were routed through mechanical telephone exchanges, and the majority of the sounds on side one are the sounds of these exchanges and some of the voices of the engineers who worked with them.

Hastings Of Malawi make strange records and this one is no exception although it has a more linear narrative structure in opposition to what critics have described as their Dadaist approach. Their records certainly resist genre classification and do not really fall into the category of music. Hastings Of Malawi have themselves described previous records as films without light, radio plays and as poems. This one is a dance - a dance that takes place within the chain, or pipe, that is brain - mouth - telephone - telephone exchange - telephone - ear - brain.

"It is a dance record but not in the way that these are usually understood. An invitation to dance appears twelve minutes in on the first side. It is a dance within the wires, movement around noise used as a sculptural material rather than unwanted signals and a joyful exploration of sonic materiality. The second side begins with the voice of a telephone engineer, who states that in the top floor switch room of the exchange is the only vestige of human control. Is this top floor switch room the human brain? The sounds on this side, float between the mechanical telephone exchange and the body where the messages are created and interpreted - it is an exploration of the relationship between thought and the material devices in which telephone sound is propagated and transformed. Side two ends with a long list of randomly generated words created by digital voice synthesis." - HOM

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

Mzylkypop ( Miz-ilky-pop) is the music of Michael Somerset who leads an ensemble of multinational musicians based in Sheffield.

Ursula in Regression is the first single from the 2nd Myzlkypop LP "Threnodies and Ad Hocs" and features the golden vocals of Julia Calvo. In its original form it is an energetic, jaunty pop masterpiece but was taken down a darker & clubbier route by Crooked Man.

As the song writing element of The Crooked Man project Michael cashed in his free remix voucher with DJ Parrot who delivers three exceptional club mixes. Bent Crooked 1 inspired Luke Unabomber to get evangelical - calling it one of the best tracks he’s heard in the last 20 years.

Michael has a rich musical history beginning his career with industrial funksters Clock DVA before up sticking to Detroit to work with Don Was and his mutant disco orchestra Was (Not Was). He has written world-wide hits for Alison Moyet, Take That and Roisin Murphy.

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989

It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's

The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall).

Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989

It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's

The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall).

Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

Chad Pulley makes his first solo appearance on John Beltran's All Good Music label, although keener eyed spotters will know that Pulley and Beltran previously collaborated on a track under the Bel-Pull Productions moniker. He steps up to the task ably, slipping into All Good style comfortably with the calm and melodic, gracefully coasting techno of 'Through My Eyes', before the flip side reveals the wistful 'Mesmerizing Blue', where pianos and synths call and respond over exotic rhythms. 'Sticks' completes the set, slightly harder and funkier than its two predecessors but again with an emphasis on musicality, off kilter danceability and originality. On this showing, a name to watch.

Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions.

Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

repress, blue marbled limited version

The label imprint of the beloved Berlin based club Paloma delivers its eighth release, and it was created by none other than a vogueing encyclopedia of musical and club culture knowledge (plus a cherished Paloma resident DJ). The disco professor: Daniel Wang.
It is his first original production under his own name in many years, and you can easily tell that this is not a tool to join in with dancefloor conformity (after all, his first album was called Idealism for a reason). Daniel Wang had already evolved from innocently enthusiastic sampling to synth wizardry during the heyday of his legendary Balihu label, and while studying the masters, he became one himself.
DSDN is an ode to nocturnal Berlin and its party community, a city that never left the centre of international attention for its vital and influential scene. Daniel Wang is a part of it since twenty years, and he was influenced by what he experienced as much as he left his mark on many nights, both as a DJ, and as a producer.
Of course, this release follows the traditional structure of a Disco EP by using a main tune DSDN with complementing dubs and instrumentals. Four to be exact, because four is the magic number with this format. DSDN reflects the internationality of the clubs across town in English and German words and pays homage to all the districts, and it effortlessly manages to unite sounds of both 80s NYC and Italo disco, 90s NYC and Italo house, synthpop and rap before it became too successful, balearic vibes before they became a mere excuse, and then it just majestically unfolds into both a charming summer hit and a complex opus magnum, but all an aural sunbeam that blows a kiss to those who emerge from recent sensations in clubs, bars, parks, and streets. Alone or together, happy or sad, resolute or irresolute, tired or energized, or all at once.

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

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

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

Anne's 7th Opus in 13 Years, Containing 6 Fantastic Covers and 6 of Her Own Songs, Recorded in One of the Most Prestigious Studios in Montreal with Her Original Blue Mind Team

Fresh from the success of her single "Killing Me Softly" from her previous album Keys to My Heart, Anne Bisson, singer-songwriter and jazz pianist, decided to perform and record more standards from the American jazz songbook, as well as new arrangements of classic songs that were so much a part of her teenage years.

Be My Lover, Anne's seventh album is, therefore, a savoury feast of original compositions and classic songs in her own bold new arrangements for acoustic trio. While still in the 'Smooth Jazz' genre, the presence of a Fender Rhodes, the legendary '70s keyboard, along with an electric bass, impart the album with quite a unique tone.

After over 18 months of musical experimentation and other creative endeavours, Anne once again brought together master drummer Paul Brochu (Gino Vanelli, Michel Legrand, UZEB) and proficient bassist Jean-Bertrand Carbou from France, for a series of informal sessions to explore the songs that were being considered for this seventh release.

These two musicians have been valuable collaborators for several years now. Paul has been featured on many of Anne's albums, notably Blue Mind, which made a huge splash when it appeared, with over 35,000 hard copies sold, while Jean-Bertrand's playing has also graced several of her albums.

Since 2009, the three have performed at several important venues, including Le Festival International de Jazz de Montréal, as well as other festivals in the United States and Mexico.

What holds them together is an evident complicity which is present from the very first notes. Their musical contributions are precise and deeply heart-felt. Their virtuoso playing greatly enhances these songs without turning them into mere technical exercises.

With precision playing, subtlety and attention to detail, as well as being recorded in impeccable High Definition, these songs will definitely please Anne's audiophile fans, while also appealing to a wider audience.



All About Ultimate High Quality CD (UHQCD)
Many years have passed since the birth of the Audio Compact Disc (CD) back in 1982. By use of High-Quality materials and a totally different manufacturing method, the definitive version of audiophile audio CD was born. Playable on any CD player, the Ultimate High Quality CD greatly surpasses all previous CDs before it!

The Ultimate High Quality CD (UHQCD):
UHQCD is a radical change to the CD manufacturing process itself. The conventional wisdom about CD manufacturing, which had remained largely unchanged across the world for over 30 years, has been exhaustively questioned. Through this effort, the ultimate in quality was attained - a level of quality that is certainly impossible to achieve with existing CD discs.

The Ultimate High Quality CD was developed through an effort to improve audio quality by simply upgrading the materials used in ordinary CDs to higher quality materials. For the substrate a high-transparency and high-fluidity polycarbonate (a type of plastic) of the type used for LCD panels was used, while for the reflective layer, low-cost, common aluminium was replaced with a unique and expensive alloy of high-reflectivity.

Differences in manufacturing methods:
Conventional CDs are produced using the technique of injection moulding to form "pits" of data on polycarbonate material. Metal plate on which "pits" representing audio source data are formed is used as a die. This is called the "stamper." Polycarbonate is melted at high temperature and poured into the die to duplicate the pit patterns on the stamper.

This method is efficient because it enables high-speed production, but it does not enable totally accurate or complete duplication of the pits on the stamper. As a melted plastic, polycarbonate is inevitably viscous, so it cannot penetrate completely into every land and groove of the tiny pits of the stamper.

The Ultimate High Quality CD photopolymer is used instead of polycarbonate to replicate the pits of the stamper. In their normal state, photopolymers are liquids, but one of their characteristic properties is that they harden when exposed to light of certain wavelengths. The advantage of this property, perfect replication of very finely detailed pits was achieved. Photopolymers in the liquid state are able to penetrate into the tiniest corners of pits on the stamper so that the pattern of the pits is reproduced to an extremely high level of accuracy. The Ultimate High Quality CD reproduces audio with greater precision and at a level that is impossible to achieve using conventional CD production technology!

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

Thugwidow AKA Alex Lowther-Harris is a Jungle producer currently living in North Wales. Productions range from Hardcore rave tracks to more Ambient Tecky Jungle.

Thugwidow makes his Bukva debut with "An Otherwise Perfect Sky EP", these tracks and remixes represent the culmination of years of work, in honing his sound, working on production and grinding away. This record is a typical Thugwidow sound, the kind of tunes he loves making and listening to. With remixes from some of Thugwidows favourite artists Tim Reaper, Response & Pliskin. This record should be perfect for late nights, early mornings and perhaps the more chilled out moments when there's too much going on in your head.

The name of the 8-track project is Simple, which refers to a neighborhood called “Simple City” in southeast Washington, D.C.. According to the rapper, the area got its namesake as a result of the senseless violence that occurs there.

“There’s a neighborhood in my city called ‘Simple City,’” IDK said in a statement. “It gets its name because you can get killed for any simple reason. Simple City is also the birthplace of Marvin Gaye. I wanted to tell the story of Simple City in a way that it’s never been told before. From drug abuse to crime and murder, I wanted to cover what it feels like to be from Simple City and teach the world that the fix to helping disadvantaged black communities isn’t as simple as you think.”

Die von Kritikern gefeierte Singer-Songwriterin und globale Pop-Ikone P!NK veröffentlicht am 17. Februar 2023 ihr mit Spannung erwartetes neunten Studioalbums "TRUSTFALL" via RCA Records. "TRUSTFALL" ist ihr erstes Studioalbum seit dem 2019 erschienenen Longplayer "Hurts 2B Human" und markiert eine aufregende Rückkehr der gefeierten Künstlerin zur Musik. Auf dem Album befindet sich natürlich auch die erste Singleauskopplung "Never Gonna Not Dance Again", ein catchy Pop-Track, der von den GRAMMY-Preisträgern Max Martin und Shellback produziert wurde, die den Song auch gemeinsam mit P!NK geschrieben haben. "TRUSTFALL" ist das perfekte musikalische Warm-Up für P!NKs große "Summer Carnival"-Tour im Sommer 2023 durch sieben deutsche Stadien.

Bondo is four Los Angeles musicians collaging displaced tempos and fractured melodies. Their sparsely vocalised music conspires to bring into view a practical enlightenment, evoking the sandy contentment of an exhausted marine sunset. The organically mechanical compositions wander with the intention not to be aimless, but to be consumed in Process.
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.

Brazil’s Bruno Furlan returns to Hot Creations with his fresh two-track EP, ‘Bongoloco’.

A DJ and producer whose recent studio endeavours have seen him release material on Black Book Records, Fool’s Gold and Material, Bruno Furlan is an artist at the centre of Brazil’s recent explosion of names within the house and tech house landscape. Based in São Paulo, the bubbling talent has built on his early experiences within the Brazilian electronic music scene to make appearances at global events such as Dirtybird Campout and AMF Festival. Following
an impressive debut on the label with his two-track ‘The Speakers Pump Like This’, late January brings a return to Jamie Jones’ Hot Creations imprint as he serves up two fresh dancefloor-leaning cuts across his ‘Bongoloco’ EP.

Title track ‘Bongoloco’ takes cues from its name and showcases a skittering percussion-driven production built for peak-time hours as warped drum fills and vibrant vocal calls inject an abundance of energy. Keeping things moving, the rolling ‘Vai’ delivers a slick accompaniment to the package, serving up an anthem built for bustling terraces worldwide.

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

Presented here on limited edition gold vinyl, ‘Ogdens' Nut Gone Flake’ is the third studio album, and only concept album by the Small Faces. Originally released in May 1968, the LP peaked at number one on the UK Album Charts the following month, where it remained for six weeks and is the Small Faces' best-known and most successful album.

Including the hit tracks ‘Lazy Sunday’, ‘Ogdens Nut Gone Flake’ and ‘Rene’, side two of the LP is based on an original fairy tale concept about a boy called Happiness Stan - six songs interlinked with narration provided by comic performer Stanley Unwin in his unique, nonsensical private language.

It ultimately became the group's final studio album during their original incarnation. The album title and distinctive packaging design was a parody of Ogden's Nut-brown Flake, a brand of tinned loose tobacco that was produced in Liverpool from 1899 onwards by Thomas Ogden

A Detroit resident, William Odell Hughes is a much-loved street educated singer-songwriter and music composer. As a regular passenger riding to work on the Detroit East Side bus route in the early eighties, he met jazz pianist Pamela Wise who also rode the bus to work every day and who he noticed was always reading music. Pamela told him about saxophonist, clarinetist, and producer Wendell Harrison (founder of the legendary Tribe collective and a regular collaborator of Pamela Wise). She introduced Odell to Wendell, who was impressed with William’s compositions and felt that it would be a great project for release on his WenHa record label.

Hughes and Harrison began producing and recording the album to be called “Cruisin”featuring musical arrangements by both Wendell Harrison and Pamela Wise. This album (released in 1981) was the first recording for Hughes and the beginning of a long musical journey that continues to this day. Cruisin’ features an all-star line-up that includes Andrew Gibson (The Counts), Pamela Wise (Tribe) and award-winning Detroit Jazz icon Wendell Harrison…all doing their bit and making this a monster of an album!

William Odell Hughes’ debut album has all the best characteristics of an 80s album: it’s filled with funky playful beats and has excellent soulful honey-dipped vocals. On Cruisin’ the listener is treated to both mellow soul sounds and electrifying disco boogie (that’ll make even the shyest of club goers want to get up and dance) and Wendell Harrison’s instantly recognizable flute-playing and synth pads give the record a warm, relaxed groove. Prepare yourself for funky vibes, cool soothing feet-tapping rhythms, fantastic interplays on vocal tempos…all backed by a beautiful array of soulful synthesized and cosmic music.

References to universal awareness are plentiful throughout and the spirituality of The Tribe remains a constant undertone; a gentle reminder of WenHa’s roots. With a sound like this, it’s no wonder that this album has long been considered a grail for crate diggers around the world. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents the first ever vinyl reissue of this rare funk & soul album (original copies go for large amounts on the second-hand market) originally released in 1981 on WenHa records. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip. This vinyl edition also features the original photography by acclaimed British photographer Brian Smith known for his work with artists such as Screamin’ Jay Hawkins, Howlin’ Wolf, Chuck Berry and John Lee Hooker.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

West Midlands five piece MACHIAVELLIAN ART follow up their self released and self titled cassette only album with their first release proper, ‘Indoctrination Sounds’ released February 24th via Riot Season Records, with an eye popping promo video to go with it.
A Maximalist blowout of Sax-honking Noise Rock, Doom Metal, Hardcore Punk, and Shoegaze, with Industrial Noise, Howls, Paranoid Rambles, and pure Disdain for oneself and the rest of you layered on top.
Indoctrination Sounds was conceived in various practice spaces in Digbeth throughout 2020 and 2021 and recorded at Ian Boult's Stuck On A Name Studios in Nottingham in the Summer of 2021, despite the best efforts of a global pandemic. Will Killingsworth mastered the record at Dead Air Studios.
Serotonin Problem opens the record with a huge sludge bass riff before the rest of the band pile in on top to create an all-encompassing and oppressive low mood that continues for the rest of the album. Next, we spiral down into the more open and atmospheric post punk of Faceless Voices - the collective bad feelings of a nation in decline reach boiling point. Indoctrination Sounds, for which the record is named, is a hardcore punk song regarding the clear and easily understood ways that humanity in the Western World is indoctrinated into the death-cult of capitalism under fear of violence, soaked in misinformation and conspiracy. Revolution is a call to action as guitars shift and glide uncertainly around, in a menacing inversion of shoegaze's dreamy safety. Side A is finished - a brief respite.
Side B opens with the more introspective Let Down, as the band play out a pounding homage to Iggy and the Stooges with Fenriz taking a turn on the drums. The drum intro to We're Not Gonna Take It gives way to a Rusted Shut bassline as the band turns their disdainful gaze to the violent pornography that is the 24-hour news cycle and reality TV in Watch Them Crawl. The album closes with Digbeth B5, an improvised piece on the gentrification of Digbeth. During the pandemic one of the band's practice spaces was turned into an overpriced ping pong bar for yuppies. As our culture is softened and cleaned up to make profit, so are our communities and cities.
Machiavellian Art are : Amy Murphy - Bass Guitar Benjamin Thomas - Vocals and Saxophone Joe Parkes - Guitar and Noise John Andrews - Guitar and Vocals Sam Hunt – Drums

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.

Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.

Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."

Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."

Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

In 1976 Michael Hoenig had a brief collaboration with Ash Ra Tempel's
Manuel Gottsching in Berlin; A 48-minute recording of one of the
sessions, which was released in 1995 under the title "Early Water" on
Bernd Kistenmacher's Musique Intemporelle label.The album was deletedand unavailable for a long time
Now, finally, a re-issue of "Early Water" will be available again.
Michael Hoenig still remembers: "While I had been working on the "Departure From The Northern Wasteland" album, Manuel Gottsching had asked me if I would team up with him for some concerts in France, since his group had just gone through one of its hibernation
periods. We rehearsed in my place for three or four weeks. One evening we got a call regarding some missing guarantee, which ultimately led to the decision to cancel the tour. Just for fun, we played one of the planned sets for a last time.
Even though I do not recall pressing a record button, somebody recently dug up a Revox tape of that very set. After performing some digital sonic archaeology on it, it was just released under the very appropriate title Early Water."
And Manuel Gottsching adds: "Unfortunately, some of the concert dates were not confirmed in time and we had to cancel the complete tour just on the day before we wanted to leave for France.
On that evening, nevertheless, we recorded our last rehearsal "just in case". It turned out as a flowing harmonic piece, reflecting much of the optimistic air of 1976. Michael made his 'departure' to Los Angeles in the early 1980ies. When we met again in November 1994 I proposed to release this old track of ours. Michael took the original tape to Los Angeles, lovingly restored it and - well, here is it again!"

Die von Kritikern gefeierte Singer-Songwriterin und globale Pop-Ikone P!NK veröffentlicht am 17. Februar 2023 ihr mit Spannung erwartetes neunten Studioalbums "TRUSTFALL" via RCA Records. "TRUSTFALL" ist ihr erstes Studioalbum seit dem 2019 erschienenen Longplayer "Hurts 2B Human" und markiert eine aufregende Rückkehr der gefeierten Künstlerin zur Musik. Auf dem Album befindet sich natürlich auch die erste Singleauskopplung "Never Gonna Not Dance Again", ein catchy Pop-Track, der von den GRAMMY-Preisträgern Max Martin und Shellback produziert wurde, die den Song auch gemeinsam mit P!NK geschrieben haben. "TRUSTFALL" ist das perfekte musikalische Warm-Up für P!NKs große "Summer Carnival"-Tour im Sommer 2023 durch sieben deutsche Stadien.

‘Change’ is the brand-new album by Anika, the first solo music from theBerlin based artist in 8 years.
A British ex-pat and former political journalist, Anika has collaborated withBEAK>and Tricky and released two albums with Mexico City’s Exploded.
View to great acclaim. The single ‘Change’ tackles personal growth as well as wider issues and grapples with eternal questions as to whether one can ever truly change.
It has been 11 years since the release of her last solo album, 2010 cultfavourite ‘Anika’; she suddenly found herself with a lot to say. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected. This coloured the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment and of thoughts like - How can this go on? How can we go on?”
The intimacy of its creation and a palpable sense of global anxiety are
seemingly baked into the DNA of Change. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or ‘High Scores’-era Boards of Canada, playing them against Anika’s remarkable voice - Nico-esque, beautifully plaintive and - in regards to the record’s subject matter - totally resolute. Incantatory tracks like ‘Naysayer’ and ‘Never Coming Back’ are both a call to arms and a warning. “‘Never Coming Back’ was written after reading Rachel Carson’s ‘Silent Spring’,” she explains. “I was living in the old East countryside outside of Berlin, where there seemed to be no shortage of birds. Apparently their numbers have dropped significantly, but it is one of these changes that we never really stop and notice. We take things for granted, until it’s too late. With all this other noise
going on, care for the environment has quickly been moved to the backburner. So long as we get what we want NOW and on demand, who cares about whether we are taking care of the future?”

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

'Turning (Inside Out)' is the new 12" dance single from Arbutus Records, a collaboration between Canadian synthpop artist Moon King and Baltimore production team Visors, with added vocals from fellow Bmore rapper DDM and, in a surprising turn of events, saxophone from the Neptunes' Chad Hugo, under his St Charles alias.
The 'pandemic-era online collab' has given us some strange and unlikely gems, of which this record is certainly one - a mesmerizing
mid-tempo groove with Moon King and DDM's call and response vocals floating above, culminating in a catchy chorus: 'feels like turning inside out, when I need you there, you're not around'.

In the unobservable reaches of the universe sits the Cosmologist, surrounded by 12-inch vinyl artifacts found on a tiny planet in another galaxy. Earth, they called it. Sci-fi sonic scalpel in hand, he gets to work on two gems from a bygone era. The A side, a rare 1980’s UK new wave whirlwind, given a drum-focused reconstruction aimed directly at the dancefloor, and the B an afrobeat masterpiece gets an expert interplanetary rework.

Dusting off the original promo sheet, it states that the A side entered Balearic folklore as a much-loved Rampling secret weapon at Shoom. Unlike any other record of that era, it features LSD-soaked drums, a barnstorming bassline and a piano riff that wouldn’t be out of place on a Severed Heads cut, finetuned and re-crafted with that space age touch.

On the B, a magical afrobeat rhythm steeped in history whose spirit and style has traversed decades, dancefloors and galaxies. An exploration of a great, reworked and recalibrated with extra-terrestrial resonations.