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Live at Levitation. On gold nugget colored vinyl.
Live bij Levitation. Op 'gold nugget' vinyl.

It’s been a little over ten years since Hailu Mergia re- emerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the

New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival.

Finally, we have a recorded document of the keyboard player’s powerful DC-based trio—which practices each weekend in his basement—featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA’s expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities.

Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like “Tizita” or “Anchihoye Lene”) upside down and inside out until they emerge as molten new works, often spontaneously. Mergia’s original compositions (like “Yegle Nesh”) shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments—often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age.

Pioneer Works Swing (Live) brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents.

Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he’s been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Back in 2018 we dropped 'SOULACOASTA', our first long-form body of work - we were blown away by the reactions and still to this day the title track is a favourite in our live show with the full band. We now present to you 'SOULACOASTA II', a colourful sonic journey over 60 minutes in length that's full of energy for vibrant club floors, but equally ready for a headphone journey or long car ride. It’s a 14 track expedition through soul, house, broken beat and beyond, with the bass and beats driving the vehicle as the synths, keyboards and samples decorate the view. This record was an opportunity to get deeper into dance music and dive into niche sounds and samples that we’ve collected from trawling through movies, archives, digging through the crates across Australia, UK and Europe, weaving new inspiration and textures into our music. This record also features some drums and percussion by Lucky Pereira, and bass guitar by Matthew Hayes.

GREEN LUNG sind eine Kultband im wahrsten Sinne des Wortes. Gegründet 2017 in London, brachten ihre ersten beiden Alben "Woodland Rites" (2019) und "Black Harvest" (2021) eine Folk-Horror-Sensibilität in den Okkult-Rock, die eine fanatische Fangemeinde in ihrer Heimat Großbritannien und darüber hinaus anlockte und zu internationalen Tourneen mit Größen wie Clutch, Festivalauftritten von Roadburn über Bloodstock bis Download und einem Plattenvertrag mit dem weltweit größten unabhängigen Heavy-Metal-Label Nuclear Blast Records führte.

Auf "This Heathen Land" hat die Band einen Sound und eine Identität geschaffen, die ganz und gar ihre eigene ist, während sie die sabbatianische Härte und die fesselnde Songkunst beibehalten hat, die ihre früheren Alben im Metal-Underground so beliebt gemacht haben. Von der Covergrafik über die Vinylbeilagen bis hin zu den lyrischen Themen ist "This Heathen Land" ein sorgfältig recherchierter und ausgeführter Liebesbrief des Heavy Metal an die folkloristische Landschaft Großbritanniens.

"This Heathen Land" ist der Sound, den GREEN LUNG auf ihren beiden Vorgängeralben geschmiedet haben und der hier zu seinem logischen Abschluss gebracht wurde. Das spiegelt sich auch im Songwriting wider, denn das Album bietet ihre abwechslungsreichste Sammlung von Songs.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Toupaz is a new name on our radar but he'll stay firmly on it after this release on forward-thinking London label, Well Street. The EP kick-starts with a fusion of techno, bass and club rhythms spliced with brilliantly bubbly toms & synths that fall down the face of broken beats. The flip side explores a new take on UK funky with whirring machines and fractured vocals, whilst the closer 'Maudlin Lakitu' features the most experimental and skeletal rhythms of the project.

Compay Segundo war der Godfather der kubanischen Musik. Im Alter von 88 Jahren erlangte er internationalen Erfolg und war der größte Künstler des Buena Vista Social Club-Phänomens. Compays Musik ist in der Lage, einem ein Lächeln ins Gesicht zu zaubern, und einige seiner Lieder ("Chan Chan", "Sarandonga", "Yo vengo aquí") gehören zu den Klassikern des Son Cubano, des Genres, das er in der ganzen Welt verbreitet hat. Auch einige seiner Coverversionen klassischer kubanischer Lieder wie "Guantanamera", "La Negra Tomasa" oder "Lágrimas negras" gehören zu den besten der lateinamerikanischen Musik. Wir feiern sein Werk mit Vinyl-Veröffentlichungen im Jahr 2023, "Duets", "Las flores de la vida" und "Calle salud"

Compay Segundo war der Godfather der kubanischen Musik. Im Alter von 88 Jahren erlangte er internationalen Erfolg und war der größte Künstler des Buena Vista Social Club-Phänomens.

Compays Musik ist in der Lage, einem ein Lächeln ins Gesicht zu zaubern, und einige seiner Lieder ("Chan Chan", "Sarandonga", "Yo vengo aquí") gehören zu den Klassikern des Son Cubano, des Genres, das er in der ganzen Welt verbreitet hat. Auch einige seiner Coverversionen klassischer kubanischer Lieder wie "Guantanamera", "La Negra Tomasa" oder "Lágrimas negras" gehören zu den besten der lateinamerikanischen Musik. Wir feiern sein Werk mit Vinyl-Veröffentlichungen im Jahr 2023, "Duets", "Las flores de la vida" und "Calle salud"

Compay Segundo war der Godfather der kubanischen Musik. Im Alter von 88 Jahren erlangte er internationalen Erfolg und war der größte Künstler des Buena Vista Social Club-Phänomens. Compays Musik ist in der Lage, einem ein Lächeln ins Gesicht zu zaubern, und einige seiner Lieder ("Chan Chan", "Sarandonga", "Yo vengo aquí") gehören zu den Klassikern des Son Cubano, des Genres, das er in der ganzen Welt verbreitet hat. Auch einige seiner Coverversionen klassischer kubanischer Lieder wie "Guantanamera", "La Negra Tomasa" oder "Lágrimas negras" gehören zu den besten der lateinamerikanischen Musik. Wir feiern sein Werk mit Vinyl-Veröffentlichungen im Jahr 2023, "Duets", "Las flores de la vida" und "Calle salud"

Brazilian Bruno Furlan returns to Hot Creations once again with his ‘La Fiesta’ EP, featuring two scorching house tracks.

One of Brazil’s leading house artists, Bruno Furlan continues to build a dedicated following across the globe, with his current US tour welcoming memorable performances at Club Space in Miami to Club Vinyl in Denver. His return to Hot Creations comes following the success of his ‘Bongoloco’ EP on the label to open 2023, alongside a slew of other releases on the likes of DIRTYBIRD, Club Sweat, Fool’s Gold Records, and his very own Track ID imprint. Delivering two fresh cuts for his fourth outing on Hot Creations Furlan showcases his growing sound once more here with ‘La Fiesta’.

Leading with a spicy fusion of rattling percussions and vibrant bongo drums, the title track ‘La Fiesta’ ignites a Dancefloor frenzy, honouring his roots through rich, pounding beats and impassioned vocals. Next up ‘Give Me That Bass’ is another production built with main stage energy, bringing punchy stabs and alluring calls to get people locked into the groove.

Leading with a spicy fusion of rattling percussions and vibrant bongo drums, the title track ‘La Fiesta’ ignites a Dancefloor frenzy, honouring his roots through rich, pounding beats and impassioned vocals. Next up ‘Give Me That Bass’ is another production built with main stage energy, bringing punchy stabs and alluring calls to get people locked into the groove.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Alex Wilcox drops an expansive eight-tracker for his debut on bbbbbb recors, ‘BANG BANG BANG!’

Alex is a distinctive and quirky DJ/producer and live artist whose unique take on electronic music has welcomed curiosity and intrigue from a wealth of leading talents within techno, electro and leftfield territories.

Fusing his own brand of eclectic club music with a self-described style of DJ sets that come as a ‘genre-less, chaotic whirlwind’, it’s no surprise that his next adventure finds a perfect home on Bjarki’s bbbbbb recors - a label known for entrancing, idiosyncratic future-focused output without limitations from distinctive talents across the globe.

“When I first approached Alex about releasing on bbbbbb, he reminded me, "I sent you those tracks years ago”. I regret overlooking them. That mistake won't happen again. I'm thrilled to include him in the bbbbbb narrative. His music exudes a punk essence and undeniable quality. Alex also has a playful side, which is refreshing. I've grown weary of the prevailing scene. The stereotypical, intense techno DJs are resurfacing, making it even more special to have Alex as part of our label's fresh lineup. His sound aligns seamlessly with the likes of Skrattar, Volruptus, and other artists, solidifying his place within our collective.” - Bjarki.

Entering into the bbbbbb universe stacked with an unconventional eight-track selection of chaotic, fun-fulled and eccentric records built for the dancefloor, through to sonics that could soundtrack even the most unhinged and peculiar of scenarios and situations, Wilcox’s ‘BANG BANG BANG!’ is an exhilarating, endorphin-induced, helter-skelter rush through styles and sounds - showcasing an oddball trip into his mind and welcoming a fun-filled yet impactful selection of productions undeniably at home on the label. As always with bbbbbb, expect the unexpected and enjoy the ride.

Alex Wilcox ‘BANG BANG BANG!’ drops via bbbbbb records on 27th October 2023.

It's been 40 years since these tracks were recorded, but all the original studio and live recordings by Times Beach are finally available on CD & LP Times Beach came together in 1983 with a core of active members from San Francisco's vibrant theatre community. That background propelled the band to a kind of stage glamour that wasn't much seen during the era of post- punk, industrial, and goth music. They were striking to see and hear, with the songs to match. But, like so many excellent bands of the era, they suffered from the "home town curse" since they were not from New York or Los Angeles – but San Francisco. Over the course of two years, Times Beach performed throughout the Bay Area, playing most of the major (and minor) clubs such as The Stone, Baybrick Inn, Cotati Cabaret, Berkeley Square, Sound Of Music, Trocadero Transfer, Ashkenaz, Ruthie's Inn, Sleeping Lady Café, and the beloved Chi Chi Club. They had a legion of dedicated supporters, and many of their shows were real party events. When it came time to record, they accepted an invitation from the illustrious Snakefinger (aka Philip Lithman) and Eric Drew Feldman to produce them at Russian Hill Studio. The first part of their story ends just about there, as they never made enough money to actually produce the album from the recordings. And the various members started drifting off. The final public gig was like their first, at the Mabuhay Gardens, in November 1984. Side One of this LP is comprised of those glorious Snakefinger sessions. Side Two presents just a few of the other great songs they wrote and performed live – never captured in any other form. For fans of Jefferson Airplane, Mutants, Nuns.

It's been 40 years since these tracks were recorded, but all the original studio and live recordings by Times Beach are finally available on CD & LP Times Beach came together in 1983 with a core of active members from San Francisco's vibrant theatre community. That background propelled the band to a kind of stage glamour that wasn't much seen during the era of post- punk, industrial, and goth music. They were striking to see and hear, with the songs to match. But, like so many excellent bands of the era, they suffered from the "home town curse" since they were not from New York or Los Angeles – but San Francisco. Over the course of two years, Times Beach performed throughout the Bay Area, playing most of the major (and minor) clubs such as The Stone, Baybrick Inn, Cotati Cabaret, Berkeley Square, Sound Of Music, Trocadero Transfer, Ashkenaz, Ruthie's Inn, Sleeping Lady Café, and the beloved Chi Chi Club. They had a legion of dedicated supporters, and many of their shows were real party events. When it came time to record, they accepted an invitation from the illustrious Snakefinger (aka Philip Lithman) and Eric Drew Feldman to produce them at Russian Hill Studio. The first part of their story ends just about there, as they never made enough money to actually produce the album from the recordings. And the various members started drifting off. The final public gig was like their first, at the Mabuhay Gardens, in November 1984. Side One of this LP is comprised of those glorious Snakefinger sessions. Side Two presents just a few of the other great songs they wrote and performed live – never captured in any other form. For fans of Jefferson Airplane, Mutants, Nuns.

Wonderwheel is proud to present a 7" taken from Nickodemus' 2023 "Soul & Science" album. The A side finds album cut and future Bollywood club jam "Falu" taking center stage. On the track, Nickodemus called upon Grammy Award winning Indian- American singer songwriter Falu Shah for a new direction. Over an electronic 4 to the floor arpeggiating synth groove, Falu sings about in Hindi about bowing down and respecting Devi (Shakti) Goddess and surrendering to her majestic force that runs this universe & Mother Earth. On the flip side is the instrumental for "The Shadow Thief" (originally featuring Alsarah) with its driving drums, synth bassline and dissonant horns. A perfect 7" to get the party moving.

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

Konfus proudly welcomes Florian Meffert & Marc Philipp as ĀMAN to the artists family, as well as a new collaboration between the two friends and Subtil’s label head Nils Weimann as MEPHIWEI.
Three deep minimal house trips catching your body, mind & soul.
Perfect gadget from open air, to club, to after hour and back!
First 150x copies come in a handstamped full cover.

Svart Records proudly presents Pekka Pohjola's "Heavy Jazz - Live in Helsinki" for the first time on vinyl! Legendary Finnish composer and bassist Pekka Pohjola, known from his work in Wigwam, Made In Sweden, touring with Mike Oldfield and having a successful solo career, caught live at Tavastia Club, Helsinki, Finland on April 18th 1995. Joining Pohjola (bass) on stage are Seppo Kantonen (keyboards), Markku Kanerva (guitars) and Anssi Nykänen (drums). During his long career that took him from riding the Finnish prog rock wave to the heavy jazz rock heights of the 1990s, Pekka Pohjola tried his hand in many things. Heavy Jazz has previously only been released on CD in 1995 and 2011 by Pohjola Records and will now finally be available on wax as well. Heavy Jazz is presented on a 2LP edition of classic black vinyl. Limited to 500 copies.

There's a new band in town! comforter2 is the new baby of Meetsysteem, Tammo Hesselink & Marianne Noordzij. Born from a residency space in Arnhem as they we're being snowed in over the pandemic, comforter2 is a band for club heads and a club act for band heads. Sometimes two worlds meet - and through this conversation love is found - that's a quote from the album > there's a lyric sheet included with the cassette so you can read along. If you're familiar with their solo projects you won't be surprised by the size of this debut; 16 fresh, club-leaning, indie pop/rock tunes that we'll release on cassette as well as digital. The tracks are formed by all members: Tammo's knack for bass and rhythms, Meetsysteem's song- writing skills (the album is sung in English) and together by Marianne's designs and voice, adding a touch of blissful psychedelia. It's an honest, upfront album about the highs and lows of modern life, seen through the eyes of a raver at their peak. It lends their sound a sense of alluring melancholy, a beautifully bittersweet sense of mood that stays with you long after the rhythms have finished. Like lullabies, for the dancefloor.

Unzählige wollten Thomas Rainer aufhalten, ihn stürzen und haben alles getan, um ihn Dreck fressen zu sehen. Sie belächelten ihn für seine Vision, für seinen grenzenlosen Willen, seinen Herrschaftsanspruch erbauen, zu untermauern und zu mehren. Doch das ist Vergangenheit. Längst pflastern sie als besiegte Gegner seinen Weg, hängen als Trophäen an den Wänden seines Hauptquartiers. Er kam, sah, siegte - und führt nun seinen endgültigen Triumphzug durch die Straßen der gefallenen Städte. "Veni Vidi Vici" lautet der Name des Kreuzzugs, mit dem Thomas Rainer Mauern einreißen, Armeen auslöschen und ganze Reiche zu Fall bringen wird. Mit ihm oder gegen ihn - etwas anderes lässt dieser Tanzdiktator nicht gelten. Überlege dir gut, ob du an seiner Seite durch ein Meer aus willigen Gespielinnen und rauschender Sünde waten und dich selbst so fühlen willst wie der berüchtigte Caligula - oder ob du als Verlierer von der Geschichte vergessen werden willst.
NACHTMAHR haben ihre "Kriegserklärung" propagiert - und liefern mit dem gleichnamigen Song nur einen von vielen Beweisen für die Überlegenheit dieses Club-Kolosses. Doch das ist erst der Anfang: "Tradition" wird mit seinem infernalischen Maschinen-Beats gleich hinterhergejagt, "Mütterchen Russland" ist voller marschierender Wucht und russischer Epik, das langsame, wogende "Die letzten Dämme" oder die allumfassende Industrial-Vernichtungswaffe "Hoffnung" als zertrümmernder Schlusspunkt erweisen sich als übermächtige Attacken zeitgemäßer Clubkultur. Geschmierter denn je läuft seine Industrial Infanterie, unter der stolz in die Höhe gereckten Standarte des Austrian Imperial Industrial versammelt der Trümmergeneral ein einschüchterndes Arsenal schwerer Waffen, die jeden Club in seine Einzelteile zerlegen werden und die Konkurrenz aus der Geschichte fegen werden wie eine lästige Fliege.
Die Welt wird brennen. Entzündet an den Überresten der untergegangenen Gegner, spiegelt sich im Widerschein dieses Triumphs der musikalischen und körperlichen Exzesse eine neue Weltordnung des Industrial, ein in Stein gemeißelter Beweis für die Überlegenheit von NACHTMAHR. Dabei ist es bedeutungslos, ob der Herr der übermächtigen Beat-Brigade flirrende Industrial-Exzesse, donnernde EBM-Rammböcke, schleppende Rhythmen oder noisigen Terror in die Schlacht schickt: Das Ende wird stets dasselbe sein, NACHTMAHR werden das Schlachtfeld stets als Sieger verlassen. Den Gegnern schallt es in den Ohren, die Frauen flüstern es andächtig: "Veni vidi vici" - bis in alle Ewigkeit.

SOFY, kürzlich als 'einer der aufregendsten Namen im britischen Indie-Pop' beschrieben, releasen ihr Mixtape 'Chaos & Commotion' und damit ihre erste Vinylscheibe. Die 9-Track-LP demonstriert die künstlerische Entwicklung und kreative Selbstvertrauen der Band, während sie zum Kultstatus heranwächst und die Begeisterung um ihren Namen sich allmählich in landesweites Aufsehen verwandelt. SOFYs Label, Chess Club Records, wurde für seine vorbildliche Arbeit mit einer Nominierung für das 'Best Boutique Label' bei den Independent Music Awards 2023 gewürdigt.

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Founded and curated by DJ and producer Samantha Togni, Boudica is a platform that aims to give visibility to women, trans* and non-binary artists. Since the platform was first launched in 2019, Boudica has evolved into a series of club events in London at venues like The Pickle Factory, Fold and E1, a radio show, a music conference and a record label.

Boudica's mission is to promote greater gender equality within the music industry. By showcasing diverse role models from marginalised communities across the music industry, they aim to engage and inspire young and upcoming artists to pursue music careers irrespective of their background and experience within the field.

In 2020, they launched the inaugural Boudica Music Conference at Freemasons' Hall. The full day included educational panels, workshops and live music designed to encourage more artists from marginalised genders to pursue careers in the music industry. In 2022, Boudica not only held London's edition of the conference at the same venue, but they also expanded to Europe. In partnership with Pioneer DJ, they held their first edition of the conference abroad in Bologna at the Museum of Modern Art. Boudica Music Conference is touring in Europe in 2023, featuring talks, workshops alongside Pioneer DJ and club nights.

Last year, they launched the Boudica label, to support and celebrate female, trans+ and non-binary producers. Supported by Arts Council England, the label features artists such as Feminyst, Nur Jaber, Wanton Witch, OCD, Infinity Dreams, Peachlyfe, Yazzus and founder Samantha Togni. Their previous releases have garnered support from major music publications such as RA and Mixmag, resulting in a third VA release.

The third vinyl, 'Dark As It Gets', is a reflection of Boudica's continual musical evolution. The release marks a first for the platform, as they issued a callout for trans+ producers across the world to send in a track to be included on the vinyl. 'Dark As It Gets' by MIIIA was selected, and the title not only encapsulates the EP's energy but also Boudica's drive to support upcoming artists in the electronic music space.

The third vinyl commences with Rotterdam-based duo Animistic Beliefs' 'Vu Sua La Gi?'. The atmospheric track begins with menacing synths that are soon after enmeshed with vogue, gqom and percussive vocal chops that build towards a rewarding, melodic breakbeat cadence at its close.

New York-based Jasmine Infiniti's 'Top Shop' is the second track on the release. Skittish breaks and warped vocals skip across brooding, muted chords that eventually dissipate to reveal a hypnotic synth melody.

The vinyl's B-side begins with Metaraph's 'Emotional Intelligence'. The track marries pummelling kick drums, heady chords and transcendent melodies, all of which serve to guide the listener from triplet hard bass to trance bliss.

Finally, the title track, 'Dark As It Gets', produced by competition winner MIIIA, delivers a powerful sonic ending to the vinyl. In her own words, the track's relentless momentum and intricate incorporation of sampling leads listeners on a 'hypnotic, sassy and intense' techno journey from beginning to end. The uncompromising track's fierce groove emblematizes Boudica's third vinyl commitment to forward-thinking, idiosyncratic production.

The third vinyl concludes the initial Boudica trilogy, depicting members of the Boudica community as contemporary royalty, drawing inspiration from the queen herself.

Musical innovators, Red Snapper, have announced that they will release a new album on Lo Recordings on the 20th of October 2023.

‘Live at The Moth Club’, the follow up to 2022’s acclaimed ‘Everybody Is Somebody’ long player, features nine tracks from a vast and impressive back catalogue on Warp Records and Lo Recordings and captures perfectly the energy of their celebrated sold out London show from May 2022 in Hackney.

With an incredible and genre bursting career that spans nearly thirty years, the new album demonstrates the band’s ability to constantly rework classic and new tracks, keeping them impassioned, experimental and relevant. The collection includes a version of ‘Suckerpunch’ which originally appeared on their 1998 album ‘Making Bones’ and will now be released as a single on the 15th of September 2023.

Notorious for casting convention aside, and remaining one of the UK’s most forward thinking and rule breaking live bands, Red Snapper embrace a unique blend of live, euphoric Afro-Jazz, Future Funk, Dub, Dark Hip-Hop and fragile soundscapes.

Formed in 1994, the original line up of Rich Thair (drums), Ali Friend (double bass) and David Ayers (guitar) released three EPs on Rich Thair and Dean Thatcher’s label Flaw Recordings. The first EP ‘Snapper’ featured Beth Orton on vocals.

Over the initial years the band released the sonically pioneering albums; ‘Reeled and Skinned’, ‘Prince Blimey’, ‘Making Bones’ and ‘Our Aim Is To Satisfy Red Snapper’ (Warp records), touring globally and supporting the likes of Massive Attack, Bjork, The Prodigy, De La Soul and The Fugees. They also acquired a reputation for innovative and expansive remixing – reworking tunes by Trouble Funk, David Holmes, Sabres of Paradise, Garbage, Lamb, S-Express and Edwyn Collins amongst others.

Since then the band have released the eponymous ‘Red Snapper’ and ‘A Pale Blue Dot’ on Lo Recordings followed by ‘Key’ on V2 Records which featured the track ‘Spikey’ which was on the soundtrack for El Camino, the Netflix Breaking Bad film directed by Vince Gilligan in 2019.

In 2013 Red Snapper composed a new soundtrack to the 1970’s Senegalese, psychedelic road movie Touki Bouki which had been restored by Martin Scorsese. The band toured Europe performing the soundtrack live to the film, culminating in the celebrated sell-out show at The Queen Elizabeth Hall on London’s Southbank. In 2014 the album ‘Hyena’ was released on Lo Recordings featuring all the music from their original film score.

180g milchig-klares Vinyl, Gatefold-Jacket, bedruckte Innenhülle, inkl. Download-Karte Das amerikanische Instrumental-Trio Verstärker hat sich von den Klängen von Krautrock, Post-Punk, No Wave und Drone inspirieren lassen und vereint Sound und Visionen im Streben nach motorischer Weltraumforschung. Nach ihrem ausverkauften Debütalbum "Aktivität" aus dem Jahr 2015, mit dem sich die Band einen schnell wachsenden Ruf im Psych-Underground erspielte, erscheint Verstärkers zweites Album "Jenseits" am 27. Oktober 2023 bei Fuzz Club. Mit fünf Tracks, die sich über 45 Minuten erstrecken, ist "Jenseits" die Antwort der Band auf die moderne dystopische Welt, in der wir heute leben - mit einem schwereren und noch dunkleren Ton als bei den Vorgängern. "Überall fühlt sich alles am Rande des Zusammenbruchs an. Wir finden unsere Hoffnung in der Musik und der Kunst. Das ist die Zukunft, nach der wir streben." Auf "Jenseits" treffen dicht gewickelte Motorik-Bässe, harte Percussion und effektgeladene Gitarren auf düstere atmosphärische Drones in den seltenen Momenten, in denen das rasante Tempo der Platte nachlässt. Gitarrist J. Vitatoe erklärt über das Album: "Jenseits als Präposition bedeutet 'jenseits' oder 'auf der anderen Seite von', und als Substantiv bedeutet es 'das Jenseits' oder 'die nächste Welt'. Diese doppelte Bedeutung ist das Konzept, das sich durch die Platte zieht. Beim Motorik-Beat ging es schon immer darum, auf den Horizont zuzusteuern, um das Gefühl des immerwährenden Vorwärtsdrangs. Aber irgendwann erreicht man die Sollbruchstelle und stößt auf die andere Seite vor - man geht über den Horizont hinaus. Das ist es, was wir mit dieser Platte klanglich erreichen wollten.

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

SHARAKTAH ist in einem winzigen Dorf in Norddeutschland aufgewachsen und diesem schnell entwachsen. Seit seiner frühen Jugend macht der 24 Jährige Musik und schreibt Texte, damals noch im Schuppen seines Opas, mittlerweile in seiner neuen Wahlheimat Hamburg. Seine Songs sind kleine Hymnen seiner Generation, mit denen er nahbare Geschichten erzählt und mit seinen melancholischen, zerrissenen Texten und seinem Sound - der die Tür zu einer Welt aus Hip Hop und Grunge, Rap und verzerrten Gitarren öffnet - die aktuelle Stimmung wie den Nagel auf den Kopf trifft.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

Auf den 12 Tracks von "God Games" stoßen Alison Mosshart und Jamie Hince in neue klangliche Gefilde vor, ohne dabei die für die Band typische Bravour zu verlieren. Nach der Doppelsingle "New York/LA Hex" vom Juli 2023 wird die Albumankündigung am 30. August von der Single "103" begleitet. Während "LA Hex" seinen Blick auf die emotionalen und zwischenmenschlichen Realitäten des modernen Lebens in Los Angeles richtete, beleuchtet "103" (Fahrenheit) die brutale Realität der beängstigenden Unbewohnbarkeit der Stadt durch die Linse eines dunklen, verdrehten Liebesliedes - Mosshart singt schneidende Texte wie "stick with me under the last palm tree / and sip a little water from the dirty fountain meant to be / the sum of it all".
"God Games" konzentriert sich auf das ursprüngliche Call-and-Response zwischen Mossharts ganzkörperlicher Stimmkatharsis und Hince' schwadronierendem, guillotine-glatten Gitarrenspiel. Sie haben den typischen Sound der beiden erweitert und sich entschieden, aus neuen Perspektiven zu schreiben. Zum ersten Mal hat das Duo hauptsächlich auf dem Klavier geschrieben und innovative Elektronik- und Bläsertexturen, eine kristallklare Produktion und zutiefst menschliche Texte sowie eine Zusammenarbeit mit dem Compton Kidz Club Choir bei "LA Hex" und "My Girls My Girls" einbezogen. Die Arbeit am Album begann 2019 und das Duo zog in eine alte Kirche, um das Album mit dem Academy®- und GRAMMY®-Award-prämierten Produzenten Paul Epworth Adele, Paul McCartney aufzunehmen, der 2002 ihr allererster Soundmann war.

Auf den 12 Tracks von "God Games" stoßen Alison Mosshart und Jamie Hince in neue klangliche Gefilde vor, ohne dabei die für die Band typische Bravour zu verlieren. Nach der Doppelsingle "New York/LA Hex" vom Juli 2023 wird die Albumankündigung am 30. August von der Single "103" begleitet. Während "LA Hex" seinen Blick auf die emotionalen und zwischenmenschlichen Realitäten des modernen Lebens in Los Angeles richtete, beleuchtet "103" (Fahrenheit) die brutale Realität der beängstigenden Unbewohnbarkeit der Stadt durch die Linse eines dunklen, verdrehten Liebesliedes - Mosshart singt schneidende Texte wie "stick with me under the last palm tree / and sip a little water from the dirty fountain meant to be / the sum of it all".
"God Games" konzentriert sich auf das ursprüngliche Call-and-Response zwischen Mossharts ganzkörperlicher Stimmkatharsis und Hince' schwadronierendem, guillotine-glatten Gitarrenspiel. Sie haben den typischen Sound der beiden erweitert und sich entschieden, aus neuen Perspektiven zu schreiben. Zum ersten Mal hat das Duo hauptsächlich auf dem Klavier geschrieben und innovative Elektronik- und Bläsertexturen, eine kristallklare Produktion und zutiefst menschliche Texte sowie eine Zusammenarbeit mit dem Compton Kidz Club Choir bei "LA Hex" und "My Girls My Girls" einbezogen. Die Arbeit am Album begann 2019 und das Duo zog in eine alte Kirche, um das Album mit dem Academy®- und GRAMMY®-Award-prämierten Produzenten Paul Epworth Adele, Paul McCartney aufzunehmen, der 2002 ihr allererster Soundmann war.

Combo Aspik is a session band project founded and led by musician, producer and DJ Magic Manfred. The bass player teamed up with some of Berlin’s finest session musicians to produce a self-titled debut album fusing live music and club culture. The tunes are heavily influenced by Boogie and Jazzfunk of the late 70s and early 80s such as the music of Bernard Wright, Don Blackman or any underground Disco gems.

Seltene Tracks von Alex Chilton, produziert von Chris Bell. Linernotes von Rich Tupica und Elizabeth Hoehn (alias Lesa Aldridge). Jetzt zum ersten Mal auf 12"-Vinyl.

Es ist Mitte bis Ende 1975, was von Big Star übrig geblieben ist, gibt es nicht mehr, Third/Sister Lovers steht im Regal und Alex Chilton ist in Memphis an einem Tiefpunkt angelangt. Chris Bell verbrachte einen großen Teil des Jahres in London und versuchte, einen Solo-Plattenvertrag zu bekommen, ging aber leer aus und flog im Spätsommer nach Hause, um seine Familie zu besuchen. Während er zu Hause war, nahm Bell bei Ardent weitere Solotitel auf, von denen einer, "You And Your Sister", einen Harmoniegesang brauchte, so dass er Alex hinzuzog.

Fans haben lange geglaubt, dass dies die letzte Aufnahme war, bei der Bell und Chilton im Studio zusammenarbeiteten, aber nur wenige Tage nach dieser Session waren sie wieder zusammen im Studio, wobei Bell eine Reihe von Demos für Alex aufnahm. Chilton nahm frühe Takes von "My Rival" (später für das Like Flies On Sherbert-Album umgeschnitten) und "All Of The Time" (später für die Singer Not The Song-EP und das Bach's Bottom-Album umgeschnitten) sowie die damals unveröffentlichten Tracks "She Might Look My Way" (das zuerst auf dem 1978er-Album Losing You To Sleep von Co-Autor Tommy Hoehn erschien) und "Windows Hotel" (das schließlich 2015 auf dem Live-Album Ocean Club '77 veröffentlicht wurde) auf. Leider war weder eine Zusammenarbeit noch eine wie auch immer geartete Big Star-Reunion geplant.

"The Thrill of It All" ist das vierte Studioalbum (1996) der britischen Hardrockband Thunder und erreichte Platz 14 der britischen Albumcharts.

Diese erweiterte Ausgabe, zum ersten Mal seit über 25 Jahren auf limitiertem rosa und klarem Doppelvinyl, enthält die Schlüsseltitel "Living for Today", "Love Worth Dying For" und "Pilot Of My Dreams" sowie bisher unveröffentlichte Bonus-Live-Versionen ausgewählter Hits des Albums.

Midwestern psychiatrist Suzanne Mathis' world is turned upside down when she decides to protect Mae, a fragile teenager on the run from a cult. As Suzanne’s daughter Jules begins to suspect there’s more to Mae’s story, a series of incidents – seemingly brought on by Mae’s presence - leave the family in chaos. Soon the Mathis family is fighting for survival against a strange cult while Suzanne and a local police detective try to unravel the clues of Mae’s past and sinister happenings in the town she escaped. Adapted from Daria Polatin’s best-selling book inspired by true events, DEVIL IN OHIO is a thrilling, shocking tale of demonic mayhem and mystery in the heart of small-town America.

British composer Will Bates incredible work on DEVIL IN OHIO began with a hymn for the cult, written before shooting. It expanded with songs for Bishop Briggs and Maiah Manser, with melodies for hurdy-gurdy and synth, until it became a haunting world of its own, blending score, soundtrack and diegesis. Now, together with Netflix Music, we’re excited to release DIO’s first-ever full-length soundtrack on vinyl.