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On October 20, 2023, Anetha will release her third tempetuous compilation on her label Mama told ya entitled MTY-AIR «Mille attaques, les vents contrèrent», just one year after MTY-TERRE «Contre tout, toutes et tous, la terre demeure» and two years after MTY-EAU «L’eau repousse les feux agressifs».

Through air element, the compilation comes up with the collaboration of 22 artists with 20 tracks, divided into 4 vinyls: Once again, Anetha carried away with her a generation of electronic artists from around the world to simply blow our mind.

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ON AIR: After twelve successful releases on Mama told ya, Anetha paraglides in our skies with the stormful MTY-AIR, a volatile new compilation: 4 swirling vinyls, 20 aerodynamics tracks, 1 wind blowing perfume.

Entitled «Mille attaques, les vents contrèrent», it will be the third of a series around the four elements. Capricious yet vigorous, air sweeps out everything on its way. Nothing can save you when you’re in the eye of the cyclone: prepare to fly hard. Alongside our windbreaker artists, skydive into the celestial vastness of sound: Gusts of disturbed techno, squalls of groove, mental tornado, minimal bass hurricane, cloudburst of psytrance… Time to get some fresh air.

Piercing pampero, mad mistral, forceful cierzo are blowing, blazing khamsin, steady sirocco, sharp shamal, dank nor’wester are entwining… Techno winds from all around the world are joining the fight against humanity. This is « Endgame » (B2). Final chapter, twisters and typhoons are cleansing the surface of earth, overthrowing everything on their path. Poor soul, don’t try to confront air’s blast as it will « Facelift » (D2) the shit out of you in less than a second. Take shelter as air is untouchable, unpredictable, unstoppable. Or if you’re brave enough, you’ll jump into the sky, looking for the currents to carry you up, sailing whirlwinds, riding airwaves, on the road to the « Temples of Quantum » (H2). Now jump!

The artwork has been once again entrusted to visual artist Karin Kimel, who worked on MTY-EAU’s artwork. She delivers an aerial scenery where supernal wafts are swirling, embalming our air. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep. And for the second time, with a direct message from earth to Earth, we opted for recycled vinyls.

Kikagaku Moyo 1st self-titled album reissue. Originally released by Cosmic Eye Records in Sep 2013. Kikagaku Moyo's debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. comes with digital download

Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair.

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2020 edition of this total bomb from 93. Re-remastered from the original DAT tapes and fresh new labels to boot.

A Sampling masterclass from a DJ in tune & head over heels in love with his favorite records. This was the first record on Wang's own Balihu label, that went on to release classic after classic well into the next decade. HUGE TIP!

Wewantsounds is delighted to release 'Sharayet el Disco' a selection of
Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco
Arabesquo from his vast collection of cassettes and officially released on
vinyl for the first time
Remastered for vinyl and including colour insert with liner notes by Moataz Rageb
(Disco Arabesquo). Most tracks have never been released on any other format
and are making their vinyl debut with this set. A journey through the funky sound
of 80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes")
features Simone, Ammar El Sherei and more obscure names from Cairo's
cassette culture.
The audio has been remastered for vinyl by David Hachour/Colorsound Studio in
Paris and the LP features artwork by young Egyptian graphic designer Heba Tarek
and a 2-page insert featuring artwork of the original cassettes plus insightful liner
notes by Moataz Rageb.
The set is a unique insight into the diversity of the Egyptian Disco sound, from the
pulsating Disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie
of Simone's "Merci," via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn
the cassette to the other side"), produced by legendary Egyptian musician Ammar
El Sherei.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Kraut synth funk explosion from the sci-fi, library & soundtrack specialists.

DIY funksters break into museum, steal modular moog and record proto-electro-punk with dusty live drums, wild percussion and out-of-control analog synth sequencing onto Tascam 8-track tape.

Following their debut 'Space Voyage' for Warner Chappell's music library and the outernational soundtrack LP 'Occhio Occhio', the U.K. based trio return with a darker, heavier edge on their new full-length 'Synchronization'.

The soundtrack to a strange and mysterious dystopian future Immersed in the sounds of arpeggiated vintage synths, full fat drum breaks and fuzz guitars. At times the album is reminiscent of post punk with hints of boom bap hip hop and as the album progresses the listener is transported to the dance floors of Berlin's underground raves. In an age that sees AI increasingly omnipresent, Eleven76 take control of the technology, creating a hybrid, genre spanning, production style that could only come from their hive mind.

The trio surrounded themselves with an enviable array of vintage synths and modern classic studio toys, with Paul Elliott and Anthony Donje at the helm of patching, connecting and bringing these analog beasts to life, while Timmy Rickard continued to lay down the grooves as the heart of the rhythm section. The result is SYNCHRONIZATION, of synth and drums, pictures and sounds, man and machine – and of your heart and brain if you're ready to get synchronized.

Serge Devant returns to Crosstown Rebels with his mesmerising new single ‘A Little Bit Of Love’, complete with a remix from Art Department & MDL Child. Thanks to his fresh house sound, New York resident Serge Devant has turned the heads of tastemakers like Jamie Jones and Damian Lazarus for several years. A regular on Crosstown Rebels dating back to his label debut in 2015, dropping a string of EPs on the label since, he arrives in fine form once again as he unveils his latest single.

His brilliant ‘A Little Bit Of Love’ is an inventive rhythm that soon sweeps you up with its wavy beats and slick hits. Gorgeous chords are draped over it next to steamy vocals to ensure a truly emotive dance floor trip, while the dub version strips out the lead vocal to lay the focus on the remaining musical elements. The remix comes from Jonny White, aka pioneering underground artist and No. 19 Music boss Art Department, and fellow Canadian talent MDL Child. They flip the production into seven minutes of emotionally intense house music with muted acid lines undulating throughout the mix, while immense percussive energy and lush cosmic keys make for a fulsome dancefloor rush.

Sublime ethereal minimalism from Hiroyuki Onogawa on this retrospective compilation album for
Mana, the first dedicated release and remaster of his soundtrack compositions.

The album August in the Water: Music for Film 1995-2005 plots a decade of Onogawa’s compositions for films by the renowned filmmaker Gakuryū Ishii (formally known as Sogo Ishii). Ishii’s leftfield and trailblazing cinema has proven highly influential - Crazy Thunder Road (1980) is frequently cited as the starting pistol for the Japanese cyberpunk genre - and unfathomably difficult to source outside of Japan. This, coupled with the mysterious and artistic nature of the films, has seen him build a cult-like following. Most of his oeuvre remains undistributed outside Japan, though Third Window Films has recently taken great strides toward making some titles available internationally.

This retrospective publication, sequenced into an album by Onogawa himself, spans a fertile period of collaboration with Ishii, through soundtracks for three remarkable films: August in the Water (1995), Labyrinth of Dreams (1997), and Mirrored Mind (2005). Each feels texturally and sensually linked with the spiritual, ambient, dreamlike quality that lingers in Onogawa’s music.

The sound Onogawa conjures for these films is elegant and patient, often minimal or essential in form, but saturated in a poetic emotion and atmosphere that feels strange and otherworldly, touched by the metaphysical in subtle ways. Boundaries are crossed between New Age and science fiction, locating a blissfulness, melancholy and paranoia within the same spectrum, and moving toward an enchanting sense of mood and colour.

It’s notable that the compositions on this album straddle the millennium, and the mix of divine and uncertain themes in the music carry that currency. New listeners might hear links to Mark Snow’s compositional work for the X-Files and Millennium, or other celebrated future-facing and future-fearing Japanese anime or cyberpunk.

Onogawa’s music adds great depth and tenor to the sensory experience of the films themselves, but it stands just as strongly as a listening experience on its own terms, a virtuosic example of ambient that changes in hue when turned in the light. Remarkably, and in similar circumstances to Ishii, Onogawa’s work has never been widely available outside of (always highly enthusiastic) underground fan posts, usually sourced from extremely limited and private CDs limited to Japan. This retrospective seeks to remedy that, and hopes to achieve recognition for Onogawa as one of the great composers of the last three decades.

Onogawa continues to work in film, both in the creation of soundtracks, and now as a producer and director. He composed the music for Koji Fukada’s Harmonium (2016), which won the Jury Prize in the Un Certain Regard section at the Cannes Film Festival, as well as for Fukada’s A Girl Missing (2019). As a director, he received the Grand Prize for Best Short Film in the Noves Visions category at the Sitges Festival in 2022 for Flashback Before Death (Guu), co-directed with Rii Ishihara.'

Some info on the background for the upcoming album, "Police Deranged For Orchestra"."Copeland explains that the “derangement” of The Police’s music “began as the score for a movie I made out of Super8 footage of the band that I had shot during our rise to glory. Film puts capricious demands on music, so I had to carve up the songs to serve the scenes in the movie, and once the scalpel was out, a whole new frenzy of inspiration from Police music began.” He shares that “delving into the multi-tracks of our original recordings and live performances revealed lost guitar solos, bass lines, and vocal improvisations that were just too cool to leave in obscurity... this discovery is what brings us to this performance: Sting’s songs, Andy’s inventions, and my impunity; all on the page for a wild ride with orchestra and unique musicians from around the world to adapt some of the most loved The Police hits for old and new audiences alike.

Another dream coming true! One of Giuliano Sorgini's finest and most sought-after titles is finally available as an official LP reissue – the first ever – remastered from the original tapes.

Originally released in 1971on the small library music imprint FAMA, which operated as a sub-label of RCA Italy, the record contains the original music written for Scappo per cantare, a small, pseudo-psychedelic 'musicarello' (musical comedy film) broadcast on RAI television and starring, among others, Italian singers Gianni Morandi and Mauro Lusini.

The only credited album artist is Sorgini, but it's impossible not to perceive, in this record, the hand of his close friend and colleague Alessandro Alessandroni.

This should not come as a surprise. In the early 70s, the two composers and multi-instrumentalists had a fruitful collaboration that saw them, under the monikers Braen (Alessandroni) and Raskovich (Sorgini), produce an abundance of works together, most of which have now gained the recognition they deserve. These include, among others, two 7" singles from their band The Pawnshop, three records in the series Alle sorgenti delle civiltà (Folkmusic), the crime/noir library albums Quarta pagina (Usignolo) and Inchiesta giudiziaria (Octopus Records), as well as the LP Tempo Libero (Panda Records), which was released shortly after the record presented here and in some ways drew rhythmic inspiration from it.

While their collaboration remained unacknowledged on the original release of Scappo per cantare (this was not uncommon at the time, especially in the field of library music), the record sounds perfectly in line with other works composed by Alessandroni in the early 70s, such as Complesso Gisteri's Mostra Collettiva (co-written with Oronzo De Filippi), or even a landmark album like Spontaneous, where Sorgini contributed to a handful of tracks.

So, yes, the sheer beauty of Scappo per cantare is the result of an incredible synergy between two heavyweights of Italian library music! Airy and sweeping melodies à la Zoo Folle, psychedelia à la Under Pompelmo, and various percussion instruments played by Sorgini seamlessly blend and fuse with elements and touches provided by Alessandroni.

More specifically, we find Alessandroni's signature, melancholy whistle in "Desolazione"; the peaceful and dreamy sound of his 12-string guitar in "Scogliere" and "Con Amore"; the trademark harmonies of his vocal ensemble Cantori Moderni in the last two tracks mentioned and in "Per cantare"; and his ingenious use of distortion on his Fender Stratocaster in the suspenseful transitions "Concentrazione" and "Fantocci", as well as in the frantic/hypnotic hippie numbers "Mordente" and "Fendente" (as a side note, it is worth remembering that Alessandroni experimented extensively with distortion in the rock-infused album Underground, co-written with De Filippi and released in 1971 under the moniker Braen's Machine, probably a reference to British psychedelic band Soft Machine).

The creative relationship between Sorgini and Alessandroni was so symbiotic that it would be useless to try to identify in more detail their respective contributions to the sound of Scappo per cantare. The alchemy between these two musical geniuses is the key to the album's exquisitely Italian mixture of cheerful lounge, sweet psychedelia and smooth easy listening.

To do justice to the quality of the music, this remastered reissue is enriched by a new artwork by Eric Adrian Lee, who drew inspiration from the psychedelic visual culture of the period in which the album was written and recorded.

Eric Krasno is a two-time GRAMMY winning guitarist, musician and producer best known for his work with Soulive, Lettuce, Tedeschi Trucks Band & Pretty Lights. Krasno has been nominated for a GRAMMY a total of seven times for Best Blues Album, Best Contemporary Blues, Best R&B, and Best Electronic Album.

Otis McDonald is a producer/multi-instrumentalist best known for his copyright free music released exclusively through the YouTube audio library, amassing over 5 million downloads and over 25 million streams.

Mike Chiavaro is a Brooklyn based electric and upright bass player with an impressive history.

Combined they form King Canyon, blending their unique styles into an infectious groove filled project with healthy doses of R&B/Soul and funk. The vibe will resonate with fans of Khruangbin, Bobby Caldwell, Allman Brothers, Soulive, Lettuce, El Michels Affair, Unknown Mortal Orchestra, Menahan Street Band, Durand Jones and the Indications, and Son Little (who's featured on one of the tracks).

In the perfect quarantine story the trio forged a relationship and has yet to meet in person. In April of 2020 in the midst of quarantine, Eric Krasno came across Otis McDonald’s music on Instagram and immediately became a fan. Months later, McDonald who had been working on music with his longtime friend, Mike Chiavaro, enlisted Krasno to add in some guitar to the mix and before they knew it, the trio had an album's worth of material and thus King Canyon was born.

The guys have still yet to meet in person, but despite this, the grooves are insatiable. The writing and feel are unlike any other projects these musicians have been involved with previously.

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

Too Pure are excited to get Moonshake’s debut album, ‘Eva Luna’, back in
print, releasing a deluxe edition, re-mastered from analogue 1Ú2” tape, on
blue double vinyl.
 The reissue contains 19 tracks - the album’s original 10, the non-LP threesong single ‘Secondhand Clothes’, the two B-sides from the ‘Beautiful
Pigeon’ single and four tracks from a November 1992 John Peel session.
The release also includes an 8-page full-colour booklet.
 Moonshake were formed in 1991 by David Callahan (vocals, guitars,
samplers), formerly of The Wolfhounds, and New York musician Margaret
Fiedler (vocals, guitars, samplers). Callahan and Fiedler recorded a demo for
Creation Records, and were joined by John Frenett (bass) and Miguel
Morland (‘Mig’, drums) to record and release the ‘First EP’ for Creation in
1991.
 They took their name from a 1973 single by Can. Both Fiedler and Callahan
wrote songs, and they would (generally) sing on the songs that they wrote.
Their output of shared inspiration produced wildly different results - Can, PIL,
Kraftwerk, MBV and Erik B & Rakim were a melting pot that made
Moonshake somewhat uncategorizable, and as Margaret noted in an
interview, “Moonshake was a collision - it was supposed to be a collision.”
 Their debut album, ‘Eva Luna’, took its name from a novel by Chilean author
Isabel Allende, and the tracks on it are split evenly between the two
songwriters. Callahan’s songs are somewhat angry, dissonant, post-punk
affairs, while Fiedler’s are just as angular, but her quieter sometimes near
whispered vocals compliment her writing partner’s equally. Producer /
engineer Guy Fixsen, fresh from his work on My Bloody Valentine’s
‘Loveless’, was instrumental in making the album cohesive.
 This album has been critically revisited often since its original release, with
Tiny Mix Tapes describing their sound as “an updated take on Can and
Public Image Limited’s rhythmic propulsion with noisier guitar work and a
predilection for sampling influenced by The Young Gods.” Last year, in a
wonderfully long piece to celebrate the album’s 30th anniversary, Louder
Than War wrote that they were blown away by the album’s “utterly
spellbinding, dizzyingly genre-defying approach at articulating explicitly the
sound of a city in the throes of urban psychosis and derangement... ‘Eva
Luna’ really is one hell of a ground-breaking record, and it stands resolutely
alone among all of the albums released in 1992 as no other band has
managed to create anything remotely similar before or since. It really is a
unique album with few equals.”
 In 1993, the original incarnation of the band split up, and Margaret Fiedler
and John Frenett went on to form Laika with Guy Fixsen. Callahan and
Morland continued on with guest musicians, with Callahan ultimately
remaining the band’s sole original member. Moonshake ended in 1997 but
their legacy is indisputable.

Mit ihrem fünften Album "Calling the Dogs" setzen Citizen ihre Bemühungen fort, melancholische, energiegeladene Rockmusik zu machen, die sich nicht auf einen einzigen Sound festlegen lässt, sondern eine Vielzahl von Einflüssen einbezieht. Produziert von Rob Schnapf (Saves the Day, Joyce Manor, Elliott Smith) ist "Calling the Dogs" ein Album, das mit dem Blick nach innen beginnt und mit dem Blick nach außen schließt. Es ist ein Album, das sich mit den Menschen beschäftigt, die wir durch die Menschen um uns herum werden. Es läutet nicht nur personell eine neue Ära der Band ein, sondern atmet auch thematisch neue Luft. Es ist ein Album der Selbstreflexion, aber auch eines, das die Wut auf direktere Weise als je zuvor zum Ausdruck bringt. Mit Einflüssen von Künstlern wie den Ramones, Violent Femmes und Bloc Party fühlt sich "Calling the Dogs" wie ein neues Kapitel für Citizen an. Songs wie der Opener "Headtrip" und die Leadsingle "If You're Lonely" wirken wie typische Citizen-Songs, die von Produzent Rob Schnapf mit einer neuen Energie versehen wurden. Wie schon bei ihrem 2021er Album "Life In Your Glass World" ist bei Songs wie "Hyper Trophy" und dem groovigen "Can't Take It Slow" ein deutlicher Einfluss des NYC-Garage-Rock-Revivals zu erkennen. Aber Citizen lässt auf "Calling the Dogs" nie eine einzige Stimmung zu lange bestehen - auf der Platte gibt es Momente der Pop-Seligkeit, der Punk-Aggression und der üblichen Citizen-Melancholie. Auf der Grundlage ihrer persönlichen Erfahrungen und ihres kollektiven musikalischen Könnens haben Citizen ein Album geschaffen, das Grenzen überschreitet und den Hörer herausfordert, seine eigenen emotionalen Landschaften zu erkunden. Für Fans von Turnstile, Fiddlehead, Angel Du$t, Militarie Gun, Drug Church, Narrow Head.

Jacob Bellens’ new solo Off My Meds took shape over two turbulent years in Jacob’s life. Several major life events happened back to back in a very short time, and it ended up breaking him down to a point of total exhaustion. The energy needed to uphold the outer self we all need to function was no longer there, and his inner actual beliefs and values began to show themselves one by one, which was not pretty to look at. Change was inevitable, simply because the price of not changing would be much higher in the long term.

The album is a pop-poem about accepting the premise of the life given to you. It is an ode to the perils of modern existence and our birthgiven right to love, laugh and cry, whatever hand we may have been dealt to begin with. Lyrically it is centered around self care and the courage to love someone and be loved in return. About taking responsibility for everything in your life instead of using your life history as an excuse for not living, no matter how tragic or unique your situation might be or seem to yourself.
Musically it draws upon an eclectic mix of influences and genres, while still maintaining a distinct underlying red thread throughout the album. It is a melancholic funk hybrid with a positive DNA, and though it sounds like pop music in the best sense of the word, it doesn’t quite look and feel like pop music. It is rather a collection of sounds and feelings put into words that are deeply personal - but personal for all.

La Bibliothèque De La Bergerie is the new all-star project from producer Emmanuel Mario (Astrobal). 11 evocative and exhilarating instrumental tracks, ranging from synthetic to acoustic, from detailed pop writing to sonic experimentation. He is accompanied here by his companions Julien Gasc, Nina Savary and Vincent Guyot (as Ulysses' companions were known). Each contributes to the composition, arrangement and instrumentation of this colourful and enchanting odyssey. Mario and Savary have been living for years in an isolated former sheepfold in the South of France and have gradually gathered around them a band of artists and musicians who have come to escape their daily lives. The compositions in La Bibliotheque De La Bergerie were born of this timeless space of freedom. Each musician's musical obsessions can be found on the album, as they travel from one track to the next: soundtracks like the ones of De Roubaix or Alessandroni (Le Fleuve De La Nuit), experimental and classy pop like Stereolab/High Llamas (Loterie Solaire) or primary and repetitive electronic music (Tous A Zanzibar tome 3). The choirs and mixed voices of Nina Savary and Julien Gasc add a sunny, melancholy touch to the whole (En Attendant L'Année Dernière). The name Bibliothèque De La Bergerie is a double nod to Library Music, a trend in musical illustration for TV and radio that had its heyday in the 60s, 70s and 80s. And to the aforementioned bergerie, a living space and creative studio. The more observant may also have noticed the titles of the tracks, taken from the novels of the golden age of science fiction. Emmanuel Mario and his friends invite you to escape to another time. The album will be released on vinyl on the Freaksville label on October 6, 2023.Tracklisting: 1. L'homme qui n'existait pas 2. En attendant l'année dernière 3. Tous à Zanzibar (Tome 1) 4. Loterie Solaire 5. Une porte sur l'été 6. Le fleuve de la nuit 7. Le manuscrit Hopkins 8. Tous à Zanzibar (Tome 2) 9. Le Voyageur de l'inconnu 10. Terminus Tel-Aviv 11. Tous à Zanzibar (Tome 3) freedom. Each musician's musical obsessions can be found on the album, as they travel from one track to the next: soundtracks like the ones of De Roubaix or Alessandroni (Le Fleuve De La Nuit), experimental and classy pop like Stereolab/High Llamas (Loterie Solaire) or primary and repetitive electronic music (Tous A Zanzibar tome 3). The choirs and mixed voices of Nina Savary and Julien Gasc add a sunny, melancholy touch to the whole (En Attendant L'Année Dernière). The name Bibliothèque De La Bergerie is a double nod to Library Music, a trend in musical illustration for TV and radio that had its heyday in the 60s, 70s and 80s. And to the aforementioned bergerie, a living space and creative studio. The more observant may also have noticed the titles of the tracks, taken from the novels of the golden age of science fiction. Emmanuel Mario and his friends invite you to escape to another time. The album will be released on vinyl on the Freaksville label on October 6, 2023

Superstar Joe Bonamassa Returns To His Roots With New Studio Album Blues Deluxe, Vol. 2, Celebrating The 20th Anniversary of His Best-Selling Independent Release

In Addition, Joe Will Release A Remastered Version Of Blues Deluxe Which Will Drop With Its Predecessor On October 6th via J&R Adventures/Provogue Records

Blues Deluxe is the third studio album by Joe Bonamassa and originally released on August 26, 2003. Recorded at Unique Recording Studios in New York City, it was produced by Bob Held and features nine cover versions of songs by classic blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson, Elmore James and more. The album is completed with three original tracks, including the fan favorite Woke Up Dreaming.

With 26 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Hania Rani announces her new album, Ghosts, bringing her songwriting and beautiful vocals to the fore and featuring special guests Patrick Watson, Olafur Arnalds and Duncan Bellamy (Portico Quartet). Ghosts will be released via Gondwana Records, followed by Hania"s most monumental tour to date, with shows in the EU, US and Canada. Ghosts is the sound of an ever-evolving artist and, just as the album"s title suggests she passes repeatedly and gracefully between musical worlds: as composer, singer, songwriter, and producer. This album builds on Rani"s earlier successes Esja and Home with an expanded yet still minimal setup of piano, keyboards, synths (most importantly her Prophet) and features more of her mysterious, bewitching voice. Its spirit is warm, beckoning one into an ambitious double album that unfolds at an exquisite pace, informed by her revelatory, exploratory live performances. Ghosts is also an album of collaborations as Rani is joined by Patrick Watson, who breathes unearthly life into the ethereal "Dancing with Ghosts". "Whispering House"is written and recorded with her friend, Olafur Arnalds and casts a peaceful, ineluctable spell; and Portico Quartet"s Duncan Bellamy contributes vital loops to "Don"t Break My Heart" and "Thin Line".

A lavish four chapter chronicle that imagines an alternative evolution of mankind through sound, VIS (Latin for energy or force) is the result of a lengthy process of self-discovery, collaboration and research for Italian-German composer David August. The son of a classical pianist, August slipped from the academic music world into an early career as a dance music producer and DJ before he felt his artistic outlook shifting considerably. He established the adventurous 99CHANTS label in 2018, and has since used it as an output for his most progressive notions, collaborating most recently with jazz-noise vocalist Cansu Tanrikulu and Carnatic singer Sushma Soma on last year"s acclaimed "Imaginary Landscapes" compilation. VIS then is a chance for August to reconcile his personal narrative, leveling it with concepts that touch on history, transformation and metaphysics. He wrote the album"s 13 pieces to play like a linear storyline, tracking the development of culture from its illusory beginnings in Plato"s cave into the wider world and observing its progression and adaptation.

August represents these themes with levitational orchestral drones, choirs and bells that slowly bend to long-forgotten ancestral rhythms, inevitably colliding with the digitized chaos of the information age. Motion guides everything, whether it"s shadows on a wall projected by dancing flames, or dramatic, overlayed rhythms that vibrate the air and excite the feet. VIS is a dynamic attempt to show the movement of time on a macro scale, looking backwards in order to move forwards. It charts mankind"s journey from its cosmic beginnings through the awe-inspiring world of flora and fauna, grounding the experience in rhythmic expression and dance before we"re returned to the stars in transcended form. Crucially, it"s a hopeful articulation of ideas and concepts that continue to echo throughout history, inviting us to imagine greater and cherish the teeming landscape that surrounds us.

Released on Friends of Friends, "A Free Mind" is a masterpiece by producer and multi-instrumentalist Sweatson Klank (FKA Take) and an all-night party of boogie funk, ‘80s modern soul, Japanese city pop, Balearic disco, AOR, and 90's house.

Flächendeckender Release der B4E LP des US-Produzenten Yung Bae von 2018, die bislang nur in Miniauflagen im Eigenvertrieb erschien. Yung Bae ist einer der prominentesten Vertreter des Vaporwave-Subgenres Future Funk, der Electro-Funk-Sounds mit japanischen 1980er City-Pop-Samples zu einem verspielten Disco-Pop kombiniert. Er spielte auf Coachella, arbeitete mit Method Man, Mike Posner und Jon Batiste zusammen und veröffentlichte bis dato acht Alben und unzählige EPs.

To celebrate the 50th Anniversary year of ‘The Dark Side Of The Moon’, Roger Waters announces the release of his homage to the original, ‘The Dark Side Of The Moon Redux’ Waters says ‘when we recorded the stripped down songs for the Lockdown Sessions, the 50th anniversary of the release of The Dark Side Of The Moon was looming on the horizon. It occurred to to me that The Dark Side Of The Moon could well be a suitable candidate for a similar re-working, partly as a tribute to the original work, but also to re-address the political and emotional message of the whole album. I discussed it with Gus and Sean, and when we’d stopped giggling and shouting ‘You must be ****ing mad’ at one another we decided to take it on. It’s turned out really great and I’m excited for everyone to hear it. It’s not a replacement for the original which, obviously, is irreplaceable. But it is a way for the seventy nine year old man to look back across the intervening fifty years into the eyes of the twenty nine year old and say, to quote a poem of mine about my Father, “We did our best, we kept his trust, our Dad would have been proud of us”. And also it is a way for me to honor a recording that Nick and Rick and Dave and I have every right to be very proud of.’ As founding member, lyricist, and principal composer of Pink Floyd during the band’s most influential and creative period, Roger Waters has achieved global success and global renown. Waters co-founded Pink Floyd in the mid-1960s. Under Waters’ guidance, Pink Floyd made a series of best-selling albums during the 1970s, of which the most successful and iconic were The Dark Side Of The Moon, Wish You Were Here, Animals and The Wall. Roger Waters left Pink Floyd in 1985 and is now one of the most successful solo artists in the world.

• Latin Freestyle was a dizzying, passionate, ultra-modern music. It was the aural equivalent of a can of thirst-quenching Quatro or a Spanish Harlem dance-off, and it became the electronically constructed bridge between disco and house.

• Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.

• Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.

• Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

On October 15th & 16th 2020, drummed Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they"d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from the sessions made it onto Villarreal"s critically-acclaimed 2022 album Panamá 77, bust most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation - flow as informed by the Latin soul of Fania Records as it is by the otherworldly trance of Brain Records - while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker"s recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven"s 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

Enigmatic Society is the next offering from the multi-faceted, Grammy-nominated supergroup Dinner Party. Full of opulently intricate instrumentation and a range of sleek R&B to smooth neo-soul vocals, Enigmatic Society is mesmerizing in its entirety. The album features brilliant performances from the debut Dinner Party crew: Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, with additional help vocalists Phoelix, Arin Ray, Ant Clemons, Tank and producers Sounwave, Hi-Tek and Trevor Lawrence Jr. Enigmatic Society serves as a follow up to the group’s 2020 debut self-titled album and continues as a celebration of Black joy, life, art, and culture, as it pays tribute to the duality that manifests in both the beauty and adversity in Black America. This deep sense of community and family flows throughout the project with the album’s artwork designed by Kamasi Washington’s sister, artist Amani Washington.

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

Mistaken Identity is the second studio album by Australian singer Delta Goodrem. It was a huge success in Australia, peaking at #1 on the country’s album chart and achieving a certification of five times Platinum. The album was also very well received in New Zealand, UK, and several European countries. Delta’s second number one album can be described as more classically piano driven, venturing into pop rock and pop jazz. The album features five singles, including “Almost Here (feat. Brian McFadden)”, “Out Of The Blue”, “Mistaken Identity”, “A Little Too Late” and “Be Strong”.

Mistaken Identity is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve and includes an insert with lyrics.

Die Nachauflage von SOULFLY "Savages" erscheint als goldene Doppel-LP im Gatefold.

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

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It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

After her stand-out record Cathedrals in 2022 and performances across Europe, Australia, Asia, and the Americas, New York hardcore icon Kilbourne is back with more. Holding it down for the genre's most extreme sounds, she has cemented her position as one of the most exciting new voices in hardcore.

Now, Kilbourne revs up the engine for Milkshake, her sophomore PRSPCT release. The title track is a filter-tweaking rager, with bouncing kicks and madness-inducing percussion. Sunshine Terror weds terror and serenity, a fleeting calm in the eye of a hurricane, while Plague Raver pays tribute to an especially unhinged period of nightlife in New York. Ignoring the T-99 Anasthasia stab mania, each track on Milkshake adds new orchestral stabs to the canon, from Verdi's Dies Irae to John Williams' film scores. The EP is rounded out by legendary darkcore producer Catscan's remix of Milkshake, a club-ready anthem that recalls the explosive sound of his early catalog.

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

Vielleicht ist es Dir gar nicht bewusst, aber irgendwann, an einem beliebigen Tag, in einer beliebigen Woche oder in einem beliebigen Monat, hast Du die Musik von Trevor Rabin gehört. Vielleicht war es im Radio, als einer der größten Rockhits aller Zeiten, "Owner of a Lonely Heart" von Yes, gespielt wurde, oder auf einem seiner mehr als 100 Film- oder TV-Soundtracks, oder sogar als Titelmelodie für NBA-Basketball auf TNT. Jetzt kehrt er mit "Rio" zurück, seinem ersten Soloalbum mit Gesang seit "Can't Look Away" von 1989. Es ist ein Meisterwerk der Ideenfindung in Kombination mit unbändigem musikalischem Können, und Rabins Fähigkeiten als musikalischer Geschichtenerzähler sind allgegenwärtig. Es ist ein Album voller Überraschungen, großartiger Melodien, dramatischer Veränderungen und unglaublicher Musikalität.Erhältlich als Ltd CD+Blu-ray Mediabook & Ltd Deluxe Gatefold Red 180g 2LP + Blu-ray (inklusive 8-seitigem LP-Booklet), beide mit Bonusmaterial, 5.1 Surround Sound & Liner Notes. Auch erhältlich als Standard CD Jewelcase, Gatefold 180g Black 2LP+LP-Booklet, Ltd Gatefold Transparent Sun Yellow 180g 2LP+LP-Booklet und als Digital Album.

Pitchfork - 8.1 - “explosive and action-packed”

NME - 4/5 - “Sigur Rós are at their blackest and most sinister, sounding not so much reborn as in the ferocious throes of an almighty exorcism.”

Line of Best Fit - 9/10 - “Neither the drums, guitars or synths are ever understated, lo-fi or polite – throughout, they’re devastating, taking control of the band’s poppier sensibilities and lighting vicious fires beneath them.”

Kveikur is the seventh album by Sigur Rós, originally released on XL Recordings in June 2013. Completely out of print worldwide, the album will now be re-released on the band’s own label, Krunk.

Described by the band as “more aggressive” than any of their previous work, Kveikur – which means ‘fuse’ or ‘candle wick’ in the band’s native Icelandic – is heavier, both thematically and sonically. All of the lyrics are sung in Icelandic rather than the wordless “Vonlenska” (Hopelandic) as on ( ), providing a more grounded experience.

Three 6 Mafia fans canget their hands on Hypnotize Camp Posse's one and only album on limited edition vinyl. Originally released in 2000 only on CD and cassette, Get On Down gives this southern Hip-Hop classic a proper release on vinyl. Featuring all The Hypnotize Minds affiliates DJ Paul, Juicy J, Project Pat, Lord Infamous, Crunchy Black, Gangsta Boo, La Chat, T-Rock, & Koopsta Knicca.

Vielleicht ist es Dir gar nicht bewusst, aber irgendwann, an einem beliebigen Tag, in einer beliebigen Woche oder in einem beliebigen Monat, hast Du die Musik von Trevor Rabin gehört. Vielleicht war es im Radio, als einer der größten Rockhits aller Zeiten, "Owner of a Lonely Heart" von Yes, gespielt wurde, oder auf einem seiner mehr als 100 Film- oder TV-Soundtracks, oder sogar als Titelmelodie für NBA-Basketball auf TNT. Jetzt kehrt er mit "Rio" zurück, seinem ersten Soloalbum mit Gesang seit "Can't Look Away" von 1989. Es ist ein Meisterwerk der Ideenfindung in Kombination mit unbändigem musikalischem Können, und Rabins Fähigkeiten als musikalischer Geschichtenerzähler sind allgegenwärtig. Es ist ein Album voller Überraschungen, großartiger Melodien, dramatischer Veränderungen und unglaublicher Musikalität.Erhältlich als Ltd CD+Blu-ray Mediabook & Ltd Deluxe Gatefold Red 180g 2LP + Blu-ray (inklusive 8-seitigem LP-Booklet), beide mit Bonusmaterial, 5.1 Surround Sound & Liner Notes. Auch erhältlich als Standard CD Jewelcase, Gatefold 180g Black 2LP+LP-Booklet, Ltd Gatefold Transparent Sun Yellow 180g 2LP+LP-Booklet und als Digital Album.