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2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Jakob Mäder is a DJ and producer based in Stuttgart. Very close to Johannes Albert (Frank Music). He has been multiplying his releases in the last years. His universe is a subtle mix of house, italo and even trance. And it’s some good house music with some slightly trancy touches which are in the spotlight on the first track of this EP for our beloved label Skylax Records: The fabulous „Chord Anthem“. 

This excellent opener reminds us the mid 90’s finest hours when there were no genre barriers. A title designed to last! To be played without moderation as well as in a house, italo or trance DJ set. “The Essence”, a solid and smooth title, receives the „Shan“ (from Running Back) treatment. “Magic Pitch” is eyeing the side of Chicago with always this hovering and acid side. And to close this EP, the uptempo “There Is Hope” because yes there is indeed a lot of hope for this young producer full of future. Note that on the label’s bandcamp, with the purchase of the vinyl, you can get 3 exclusive bonus tracks (!): „Always A Dreamer“, „The Essence“ (original version) & Universe.

Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.

Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.

Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.

Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.

Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.

Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.

Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.

Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.

2023 marks 35 years since the first single by The Brand New Heavie

Twenty-one seminal tracks from Acid Jazz royalty, The Brand New Heavies, who transcended London’s local funk scene to become to enjoy global success across with hits such as ‘Sometimes’, ‘You Are The Universe’, ‘Dream on Dreamer’, ‘Midnight at The Oasis’ and more.

This new compilation brings together all the singles from the band’s time with London Records, featuring 15 Top 40, 5 Top 20, and 1 Top 10 UK hits.

All formats feature new liner notes from producer and long-time fan Mark Ronson.

Presented on double heavyweight vinyl with 21 hits – all their biggest hits + 4 US Singles- and expanded 2 x CD with remixes by Masters at Work, Dimitri from Paris, Roger Sanchez and a new remix of ‘Stay This Way’ by Bob Sinclar

This EP is the first release to mark the start of a new adventure, illustrating Rude Jude's commitment to a smooth and melodic vintage sound.

Featuring 3 original songs, a cover and an epilogue, it is deeply inspired by the legends of Adult Oriented Rock and a mix of 70s/80s Soft Rock, Jazz and Pop.

The contribution of the talented vocalist, songwriter and violin player, Jon GK can't be understated in creating and interpreting these songs. All the parts are played by musicians and the production is made through as much analog gear from that era as possible. It is not just a tribute but an attempt to carry the torch and bring something new to the current music landscape.

Greece’s ecstatic ritual singer, pianist, and ambient composer Maroulita de Kol announces her debut album Anásana, a record of deeply traditional Hellenic ceremonial cultures interwoven with contemporary experimental colour.

Athens-raised, Berlin-based Maroulita de Kol creates music formed from the ancient, pre-Christian rites and practices of Greece, newly re-presented through a contemporary lens. A former student of classical piano and voice, an unbreakable bond with her homeland


yielded an extensive and ongoing dive into the mythologies, arts and storytelling of ancestral Greece. These studies eventually guided her to the debut solo works that make up Anásana.

The instrumentation and themes of Anásana borrow both from the ancient ecstatic ritual of historical Greece and meditative electronic ambient music. Flowing lines of deeply learned piano technique clothe traditional Hellenic folksong. And while its imagery was unmistakably born in Greece, its tones are inflected by de Kol’s time in Berlin and her immersion in its electronic and experimental scenes. “My music is an act of freedom and beauty,” she explains. “Hymns that aim for the restoration of Women's faith; they can heal the collective wound of the feminine.”

Revealed a few seasons ago thanks to the abrasive potential of their riffs, the French duo Bandit Bandit consisting of Maëva & Hugo imposes its musical genre, as well as an insolent ease to handle the French language, which one can hear in their amazing first album, 11:11.

In 2019 came the first show, the first music video, the first studio session. The name "Bandit Bandit" was born during a photo shoot with a friend, in a desert landscape, wearing scarves, boots and pistols. As for the repetition of Bandit, it is to better underline the duality of the project which, very quickly, found its own public, thanks to tracks as striking as "Maux", the first french-written one, and an imagination which incites the press to nickname them the Bonnie & Clyde of rock.

After two electrifying EPs, "Bandit Bandi"t and "Tachycardie", the duet needed to "explore further than the rock-genre itself" on a 11:11 produced by Azzedine Djelil (Rita Mitsouko, Catherine Ringer, Minuit, Lulu Van Trapp...). This first album mixes music genres, investigates pop music with all its amplitude, as a guiding thread between raw rock and the more sophisticated alternative style. Until now self-centered and cathartic, the texts of Bandit Bandit remain intimate on 11:11 while proving to be political, freed from prudishness, playing with words. Their unrestrained music resonates loudly throughout this album with a devouring desire as insatiable as contagious.
"11:11", frist album. Includes "Toxique Exit", "Si j' avais su " & " La marée ". Available on Cd & Vinyl.

Introducing "Alone Together", Viken Arman's debut album — a kaleidoscope of influences, building a bridge between the masterful beats of J Dilla, the hypnotic grooves of Ricardo Villalobos, the Free Jazz spirit of Sun Ra and the aura of French House.

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

"Bluegrass" ist ein brandneues Studioalbum, auf dem ein Dutzend klassischer Willie Nelson-Kompositionen zu hören sind - darunter "On the Road Again", "Yesterday's Wine", "Still is Still Moving to Me", "Good Hearted Woman" und viele mehr - frisch interpretiert von Willie und seinem Ensemble. In seiner sieben Jahrzehnte währenden Karriere, in der er Genres von einem Ende des musikalischen Spektrums bis zum anderen erforscht hat, ist dies sein erstes komplettes Album, das einem Genre gewidmet ist. Willie und sein langjähriger Produzent Buddy Cannon wählten persönliche und von den Fans geliebte Kompositionen aus seiner gesamten Karriere aus, um sie für diese Hommage an die Old-Time-String-Band-Musik aus den Appalachen, die Willies Songwriting und die amerikanische Country-Musik im Allgemeinen tiefgreifend beeinflusst hat, neu zu interpretieren

Für Molly Burch war das Alter von 13 Jahren ein entscheidender Moment in ihrem Leben, der den Weg, den sie jetzt geht, geprägt hat. Burchs viertes Album "Daydreamer" erkundet die Gefühle und Unsicherheiten dieser kritischen Phase. "Daydreamer" ist dank des Produzenten Jack Tatum (Wild Nothing) schärfer und sauberer produziert und ein bisschen poppiger als Burchs frühere Alben. Das Ergebnis ist eine Musik, die sich mitreißend anfühlt, die Klänge und Einflüsse aus der Vergangenheit aufgreift und ihre Entwicklung als Künstlerin gleichzeitig weiterführt. Die Leadsingle "Physical" ist ein düsterer und schwüler 80er-Jahre-Mid-Tempo-Jam mit einem Intro, das durchaus dem Soundtrack eines John Carpenter-Horrorfilms entstammen könnte. Das Album kehrt auch zu Themen zurück, die zu einer Art Markenzeichen für Burch geworden sind, wie z. B. unerwiderte Liebe in "Unconditional". Und dann ist da noch "Tattoo", eine ätherische Ballade mit schwungvoller Harfe und Backgroundgesang von Luna Li (Hannah Kim) und einer der emotionalsten Songs des Albums, eine Ode an ihre beste Freundin aus der Highschool, die sich 2009 das Leben nahm. Obwohl das Album viel Zeit mit trauernden und angstbeladenen Reflexionen verbringt, sind die Songs auf "Daydreamer" nie in Tristesse oder Morbidität festgefahren. Burchs Fähigkeit, die dunkelsten Momente ihres Lebens in eine universelle Sprache zu übersetzen, legt den Grundstein für ein meisterhaftes Pop-Album.

Das Jeffrey Lee Pierce Sessions Project, das sich aus Teilen des legendären Gun Clubs, Freund*innen des Sängers Jeffrey Lee Pierce (1958-1996) und Fans des Künstlers zusammensetzt, präsentiert mit "Axels & Sockets" den dritten Teil eines außergewöhnlichen Projekts. Mit Künstler*innen wie Nick Cave, Debbie Harry, Mark Lanegan, Lydia Lunch, Warren Ellis, Mick Harvey und Kid Congo Powers sind hier viele bekannte Namen der ersten zwei Teile "We Are Only Riders" und "The Journey Is Long" vereint. Zum ersten Mal dabei sind keine Geringeren als Mark Stewart, Thurston Moore, Primal Scream, Andrew Weatherall und Punkikone Iggy Pop! Koordiniert von Pierce"s musikalischem Wegbegleiter Cypress Grove, schaffen es die Musiker*innen auch beim dritten Teil, aus Songskizzen, Demoaufnahmen, Riffs, Textfetzen und Soundschnippseln, die Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte, neue und atemberaubende Songs zu machen.

Nach dem erfolgreichen 2009er-Debüt "We Are Only Riders" legt das Jeffrey Lee Pierce Sessions Project ein zweites Album mit zuvor unveröffentlichten Vorlagen des Gun-Club-Sängers Jeffrey Lee Pierce (1958 - 1996) vor, wiederum eingespielt von befreundeten Artists und Weggefährt*innen. Ausgangspunkt für viele Songs war eine Musikkassette mit Songideen von Pierce, die Cypress Grove, ein Musiker aus der späten Gun-Club-Phase, zufällig beim Aufräumen fand. Wie im von Pierce so geliebten Jazz, spielte beim Sessions Project jeder bei jedem, interpretierte oder bearbeitete man gemeinsam textliche und melodische Fragmente. Auf "The Journey Is Long" trifft sich ein Who"s who des Indie-Adels: Nick Cave, Mick Harvey, Debbie Harry & Chris Stein, Lydia Lunch, Kid Congo Powers, Tav Falco"s Panther Burns, Mark Lanegan & Isobel Campbell, Steve Wynn, Warren Ellis, Barry Adamson, Thalia Zedek & Chris Brokaw, Hugo Race und viele andere.

Instrumentals JID019 captures the musical alchemy produced at the Linear Labs Studio by producers Adrian Younge and Ali Shaheed Muhammad. These instrumental recordings encapsulate the spirit of the Jazz Is Dead concert and recording series, celebrating the African-American art form known as jazz through improvisation, musical collaboration and authentic cross-generational and cross-cultural communication.

Zum 10-jährigen Jubiläum von Miley Cyrus' 3-fach-Platin-Album "Bangerz" können sich die Fans auf 2 Vinyl-Veröffentlichen freuen! Inklusive die beliebten Original-Hits wie "Wrecking Ball", "We Can't Stop" und "Adore You" in einer neuen Verpackung mit noch nie gesehenen Fotos und dem Bonustrack "23" mit Mike WiLL Made-It. Erhältlich als Standard Black Vinyl und als See Glass Coloured Vinyl.

"The Flying Guillotine 2" is the bloody sequel to Serenace's first appearance on Shaw Cuts in 2019, continuing the head-lopping violence with a group of freedom fighters lead by the heroic Ma Teng battling against the evil despot Emperor Yung and his reign of terror.

Teng has developed a protective device, similar to a spiky metal umbrella, that allows him to defend against the deadly flying guillotine attacks of the violent regime. "Current", its bombastic drum patterns, razor-sharp synth waves and vicious vibe strengthens the rebels to resist the brutal assaults.

But the Emperor immediately reacts, creating a double flying guillotine to counter Ma Teng's iron umbrella and the rebel union is left defenseless again. "Aiming From A Distance", a vivid breakbeat cut combining rolling percussion, arpeggiated synth chords and sirens from hell, raises the rebels' hopes to give them another answer.

Secret insurgent Na Lan infiltrates the Emperor's inner circle by gaining his trust with a group of female warriors whom he allows to train with the flying guillotine palace guards. However, Na Lan only wants to steal the plans of the improved weapon and deliver it to the rebel squad, in order to devise another counteracting force. With the crisp bassline and the energy-filled breaks of "Test 21", the rebels can gain an insight into the elaborated guillotine and find a possible way to defeat it.

Farron's profound techno version of "Current" brings in the necessary tension for the final showdown. The improved double flying guillotine VS a new secret defensive system. Will the rebels be able to team up and defeat the tyrant once and for all? No matter what happens, the saga continues.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Zum 10-jährigen Jubiläum von Miley Cyrus' 3-fach-Platin-Album "Bangerz" können sich die Fans auf 2 Vinyl-Veröffentlichen freuen! Inklusive die beliebten Original-Hits wie "Wrecking Ball", "We Can't Stop" und "Adore You" in einer neuen Verpackung mit noch nie gesehenen Fotos und dem Bonustrack "23" mit Mike WiLL Made-It. Erhältlich als Standard Black Vinyl und als See Glass Coloured Vinyl.

The innovators of Electro-Hip Hop are back! Franco-Californian duo, AllttA (French producer 20syl + American rapper Mr. J. Medeiros) emerge from their five year hiatus to take on the stage! After their 2017 debut “The Upper Hand” and sophomore following “Facing Giants” (that same year), AllttA returns with “Curio” Part. I, the first installment in their two part experiment on Electro and Hip Hop: a soundscape they’ve co-created while bending and pushing both into their own AllttA image . This “Curio” experiment of sound in motion will be hitting the road for a tour that will begin next fall.

The Electro-Hip Hop duo consisting of American rapper Mr. J. Medeiros and French producer 20Syl took an “at all cost” - “no fear” attitude when creating what might be the future of Electro - Hip Hop or at the very least a defining moment in the sub-genre.

“CURIO” Part II is AllttA’s second release from their two part album, “CURIO” Part I & II and as its name declares its: a rare, unusual, and intriguing object. In all aspects of “CURIO” you can see, feel, and hear the symbiosis of digital and organic life - the artificial intelligence and the human touch, a relationship which has never been so relevant as it is now.

Even material that didn’t make the record, a tune titled “Savages”, a jaw dropping sound experiment where AllttA used A.I. in a manner which shook the Hip Hop world at the highest levels of stardom, allowed the duo to insert a musical perspective into this world wide debate on the human relationship with technology. If this tune did not make it on the record - imagine what did…

“CURIO” Part II is where AllttA defines itself with confidence, class, and a level of creativity seemingly lost in an oversaturated market of express musical branding. Songs like “Honorificabilitudinitatibus’ and “Victim” take the listener into a genre splitting, epoch bending, mind and sound experience. Shakespearean like word play followed by stacked one-man choruses give you the impression Queen snuck in while distorted analog bass rings violently before morphing into sweet - pensive harmonic tones.

Chuwanaga proudly presents Jasual Cazz's inaugural album "Memory Guard". Delving into the heart of jazz fusion, the French trio bridges the nostalgia of bygone years and the avant-garde essence of tomorrow.

Memory Guard surely brings some flavours of the seventies and eighties era with their vintage synthesizers. "Better Before", the joyful "Double Comète" or even "Tell Tale" re-enact this legacy while keeping it always groovy and thoughtful.
But, as if plucked from the ethereal realm of dreams, "Tell Tale", "Mèches" or "Libellule" sound like hidden places, mysterious pieces of music and time where the memory moves forwards.
In the meantime, "Temple", "Jungle Meat" or "L'Arche" venture into modern sonic realms, embracing post-jungle influences that propel jazz into uncharted territories. Body and mind can now synchronize.

Painting an auditory landscape that unfolds in a myriad of hues and forms, Memory Guard really follows the inventiveness of the actual jazz scene but with the emotional intelligence of the French jazz-funk heritage.

Jasual Cazz is the brainchild of Theo Boero on bass, Pierre-Louis Vanier on keys, and Japhet Boristhene on drums, hailing from the vibrant city of Lyon, France.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

ENG The new Will Toledo from Austria? - LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 18 and still goes to school. He recorded most of the songs from his debut on Siluh Records by himself. Live he performs them with his band featuring Lena Pöttinger (drums), Theresa Strohmer (guitar, vocals) and Felix Schnabl (bass). Felix Schnabel, on the other hand, has his own garage punk project called SALAMIRECORDER, with Tobias playing bass. Musically, the whole thing sounds like an exquisite jingle-jangle indie/twee-pop sound. It almost seems like a lost album from early influential labels like Flying Nun, Cherry Red, Postcard Records. The songs from "Trouble" were mostly written at home, in the bedroom, in front of the TV and at his favorite spot at the movies. The basic mood of the songs is mostly melancholic, though that you can still cook or dance to, or listen to on the bus when you're on your way to going out with your friends. Tobias Hammermüller took inspiration from the indie rock sound of the 2010s (Snail Mail, Chastity Belt, The Babies, Best Coast, The Drums) and from many new wave hits (Aztec Camera, Psychedelic Furs, Echo and the Bunnymen, Prefab Sprout). The lines of text are largely based on quotes from films. He is particularly fond of the old strips by Éric Rohmer and Wim Wenders, and from New Hollywood/Nouvelle Vague movies, because they often deal with identity crises and escapism, just like his songs.

As Duke Ellington would have said, Dinah Washington was “beyond category”. Subtle and inventive enough to hold an honored place in the jazz pantheon yet tough and forceful enough to command the attention of blues, R&B and rock & roll audiences. Equally at ease performing Broadway songs, pop tunes or jazz material, Washington combined urbane finesse with down-home grit to make music that reflected her strong-willed, larger-than-life personality.

Die 2023er Deluxe-Edition des Daves East-Albums 'Book Of David' (2022) enthält neun neue Tracks und Kollaborationen von und mit Styles P, Millyz, Berner, B-Real, Katt Rockell und Derrick Millano, produziert von Dave East und seinem Team, darunter Buda & Grandz und Mike Kuz. BOD ist eine Hommage an einige der einflussreichsten Labels und Produzenten in der Hip-Hop-Geschichte, wie Bad Boy, Ruff Ryders, Roc-A-Fella, Wu-Tang Clan, Dipset und State Property und ein Muss für jeden Hip-Hop-Enthusiasten. Schwarzes Doppelvinyl.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Das neue Studioalbum TIMBRE des portugiesischen Singer-Songwriters Salvador Sobral enthält elf neue Originalsongs.

Sobrals Musik führt uns auf einzigartige und vielfältige Reise von Jazz inspirierten Eigenkompositionen über Pop und Rock zum melodischen Sound des Brasilianischen Bossa Novas.

Salvador Sobral: "Der Name TIMBRE entstand aus zwei Hauptgründen. Der erste - und vielleicht offensichtlichste - ist, dass ich in diesem Leben in erster Linie Sänger bin, ein Performer, und was mich am meisten definiert und auszeichnet, ist meine Stimme, mein Timbre. Der zweite Grund ist, dass ich mich für das Konzept der Klangfarbe als Farbe interessiere, die Farbe der Stimme, die Farbe
der Instrumente. Das Album wird wie eine bunte Palette von Klangfarben sein, die Klarheit erzeugen.

Ah! Und es gibt noch einen dritten Grund für den Titel des Albums: Das Wort ?timbre? wird in vielen lateinischen und germanischen Sprachen verwendet. Es wird gleich buchstabiert und bedeutet dasselbe. Das Konzept von TIMBRE scheint also universell zu sein, und wir können uns alle darauf verständigen."

The Two Sides Of Mary Wells is the seventh studio album by soul singer Mary Wells, released in 1966. Wells' career had drastically changed from just six years before when the then-teenage Wells first recorded songs for Motown. This album mixed traditional pop with more earthier and uptown soul songs. Wells released a modest hit with the Motown-esque "Dear Lover", which hit the top ten of the R&B charts.

It also includes some great interpretations by Wells of classic tracks as: "Satisfaction", "In The Midnight Hour", "My World Is Empty Without You" and "The Boy From Ipanema" a.o.

The Two Sides Of Mary Wells is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Confidence is the NBR absolute party starter! Big big drums, live saxophone and organ, a crazy tempo and a hook we've been spotted shouting along to walking to work at 9am! Like Phill Most says “Occasionally / Its even amazing to me/ how ill I can be /when I MC”. Damn straight Phill Most! We've seen early acetates of this absolutely tear up the festival circuit last summer & consider this 45 the ultimate party 45 on the label!

Flip it over to hear the exclusive to this 45 If Ya Let 'Em (Remix). Phill Most Chill on a cautionary tale about grabbing hold of our own destiniy! This very unusual beat that emulates a band sound by progressing & switching from bar 1 to the end. Snafu & Bankrupt Euros' Craig Cloy go wild on bass, piano & cello arrangement over a tough, classic break using live instrumentation and some sample chops, trying to replicate the feel of a soul band with hip hop sensibilities. Grazzhoppa steals the show on both sides with his turntable wizardry once again blurring the lines between beat and scratches blending his scratches into the instrumentation!

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.

Pleasure to Kill is the second studio album by German thrash metal band Kreator, released in March 1986 by Noise Records.

Pleasure to Kill is widely considered a landmark thrash metal classic, along with Master of Puppets by Metallica, Peace Sells... but Who's Buying? by Megadeth, Reign in Blood by Slayer, Eternal Devastation by Destruction and Darkness Descends by Dark Angel, all released in 1986.

The album played a considerable role in the development of many extreme metal subgenres, and death metal bands such as Cannibal Corpse cite the album as an influence.

Dimension Hatröss is the fourth studio album by the Canadian heavy metal band Voivod. It was released in 1988 on Noise Records and is a concept album which narrates the exploits of Voivod’s mascot cyborg Korgull.

The cover concept and artwork was produced by drummer Michel Langevin. Estimated sales are more than 70,000 copies, worldwide. In 2017, Dimension Hatröss was added by the US magazine Rolling Stone to its Top 100 Metal Albums of All Time list at No. 78.

The word Hatröss is pronounced by singer Snake (Denis Bélanger) in French as the word atroce, meaning terrible or horrible

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

Already bandmates within IDALG, Jean-Michel Coutu and Yuki Berthiaume-Tremblay have been working on new material for some time, from which a distinct identity emerges: the echoes of exotic post-punk, the polychrome and nervous plot of an art rock space opera. YOCTO, in addition to the name given to this new project, is a micro unit of measurement that reflects well this mini-cyclic and fractional music, drawing its DNA from mid-70s underground rock (Television / Talking Heads / Devo) and sci-fi series opening credits. As a leader of this band, Yuki Berthiaume-Tremblay (Jesuslesfilles, IDALG) sings rebellion anthems alongside Jean-Michel Coutu (IDALG) on guitar, Emmanuel Éthier (Chocolat) on bass, Félix-Antoine Coutu on drums, and Carl Matthieu Neher on v-organ. The first album, Zepta Supernova, co-produced by Emmanuel Éthier (Corridor, Pierre Lapointe, P'tit Belliveau) and Jean- Michel Coutu (Jesuslesfilles, CRABE, PYPY), is released on Canadian label Duprince and French label Requiem pour un Twister. An incisive odyssey where fatal obsession, pernicious pride, chained star, and judgment day are at issue. In this series of science-fiction fables, Yocto speaks to a completely megalomaniacal antagonist. The latter has a predisposition to indulge in his own vices - which Yocto has understood well and will makegood use of: through her cunning and pure ingenuity, she will undermineherrival untilhis lucky starbecomes asupernova

After supporting Alison Krauss & Robert Plant during summer '22 and going on tour alongside Charley Crockett across UK and Netherlands, French-Canadian singer-songwriter Theo Lawrence invites you to travel with him on the roads of Texas for an exclusive RSD release. Four performances captured on the spot, in a studio away from the city. Love songs flirting with bluegrass and rock'n'roll, straight out of a honky tonk where western waltzes follow one another. With this country hillbilly quartet (fiddle, lap steel and double bass), each of the instrumentalists is a reference. Together they form the beating heart of the Austin, TX music scene.