Search:d mess

Die grandiose Early-Works-Kollektion ART DEVO belegt, warum Devo eine der wichtigsten Bands der US-Musikgeschichte waren und immer noch sind. Die streng limitierte 3LP+7" Anthologie enthält meist unveröffentlichtes Archivschätze, Raritäten und Obskuritäten aus ihrer Frühzeit 1973-77, als sich Devo zu einem Kunstprojekt entwickelte, das David Bowie zur 'Band der Zukunft' erklärte. Die von Devo kuratierte Tracklist erscheint auf pink-schwarz-marmorstrukturiertem Triple-Vinyl im Deluxe-Boxset in Goldfolie, mit doppelseitigen Art Prints, darunter ein Scratch'n'Sniff-Bild, sowie Liner Notes der Gründungsmitglieder Mark Mothersbaugh und Gerald V Casal. Es gibt nur 1.000 Stück weltweit.

Repress!

Rallying cry for Trump's eventual certain demise Timely re-press to enforce the message.

It’s hard to overstate the importance of Fanny’s 1970 self-titled debut album. For the first time, a group of women (sisters June and Jean Millington, Alice De Buhr and Nickey Barclay) wrote and sang their own songs, played their own instruments and, perhaps most importantly, rocked just as hard as any male band out there. And, as the first all-female band signed to a major label (Reprise) and with superstar producer Richard Perry at the board, these four women became perhaps L.A.’s biggest “buzz band,” landing repeated bookings at the Whisky-a-Go-Go with a who’s who of rock’s glitterati in attendance. Fanny became the reference point for generations of female rockers to come after them, from Joan Jett to Girlschool to Courtney Love and beyond. They were truly the Godmothers of Chick Rock. The self-titled debut by Fanny is available as a limited edition of 750 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing...

The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller.

Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.

Not to be missed!

Two tracks from Chicago’s mighty Salem Travelers, from their brief time on the Chess subsidiary Checker in 1968. The A-side, ‘Tell It Like It Is’, goes for around £45 on seven, its follow up, an previously unheralded classic from the same year. Both tracks are a unique funky take on gospel.

‘Tell It Like It Is’ is filled with wah wah guitar chops and some excellent lead breaks that spice up the conga-adorned upbeat; a heady song grasping for the truth.

‘Give Me Liberty Or Death’ is slightly slower, with a Motown-styled backbeat behind a fist pumping anthem that reels in its churchy roots and some great vocal interplay, a message song filled with emotion.

Two fantastic tunes from a transient ever-changing group who, in the 1960s and 1970s, were known for soulful harmonies and glass-shattering lead singing. Typical of their repertoire of songs that provided social commentary on the troubles of the world from the war in Vietnam, drugs, violence, prejudice, civil rights and child delinquency.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)

Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)


Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

Seit fast zwei Jahrzehnten streben American Aquarium nach der raren Form von Rock'n'Roll, die in jeder Hinsicht eine Offenbarung ist. "Für uns ist der
Punkt erreicht, an dem du eine Rockband hast, die dich dazu bringt, jedes Wort mitzuschreien, und erst, wenn du nachts um drei Uhr zu Bett gehst,
merkst du, dass diese Worte etwas Wahres über dein Leben aussagen", sagt Frontmann BJ Barham.
Auf ihrem neuen Album The Fear of Standing Still verkörpert die aus North Carolina stammende Band diese Dynamik mit größerer Intensität als je
zuvor, indem sie ihre düstere Art von Country-Rock mit Barhams bisher mutigstem und prägnantestem Songwriting verbindet.
The Fear of Standing Still ist die zweite Zusammenarbeit von American Aquarium mit dem Produzenten Shooter Jennings - einem dreifachen
Grammy-Gewinner, der auch für die Produktion des Albums Lamentations aus dem Jahr 2020 sowie für Alben von Brandi Carlile und Tanya Tucker
verantwortlich war.

"Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer, Patterson Hood explains, ““Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines).

In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

This 3-disc deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout."

Rising Sheffield five-piece Dearthworms are set to release their debut album Sapsucker; a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk, in the vein of the Pixies, The Fall, Shame, Gilla Band, Protomartyr, Uranium Club.

Infused with eerie, surreal lyrics, stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

The band, who all have a longstanding history of being in various other bands in Sheffield inc. Blood Sport, Amorous Dialogues, Knorke and Stray Bullet, are a by-product of the local DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground.

Lyndon Hobson’s production captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. This is a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

This is the memorable debut album by Wendell Harrison, the founder of TRIBE, under his solo name, and is also known as the first version of "Message From The Tribe", which was released the previous year as the iconic masterpiece "TRIBE". The first version of "Message From The Tribe" (a.k.a. "Cliff Jacket"), which was released the previous year, is an updated version of the A-side that Wendell Harrison steered! The opening "Mary Had An Abortion" (M1) and "Consciousness" (M5), which quickly builds tension with its poetry reading and freaky sound that conveys a strong message in a deep voice, and the ferocious "Soulful Soul" by a young Wendell Harrison. The soulful "Vol II Angry Young Man Part I - Part II" (M3-4) is overwhelmed by the blows of the young Wendell Harrison, "Rebirth" (M6) is shaken by the heart-string-tugging horns against a tranquil soundscape, and "Mellow & Spiritual" (M7) is a mellow and spiritual masterpiece. Where Am I" (M2), a mellow and spiritual song loved by many DJs and diggers! All tracks have been newly mastered and reissued in the original 1st pressing jacket with full-size printed visuals!

Trombonist Phil Ranelin, who co-founded the legendary spiritual jazz label "TRIBE" with Wendell Harrison, released "Vibes From The Tribe" in 1976 as the label's final release. It is known as one of the defining albums of "TRIBE," along with the label's early release, "Message From The Tribe." Now, all of the alternate takes from the historical masterpiece will be released as a new album. The album is a double LP that includes multiple alternate versions of the album's most popular songs, such as the jazz-funk groove "Sounds From The Village," which features a brilliant horn ensemble, and a killer break beat tune"Vibes From The Tribe". This is the first time to be released on vinyl of the alternative album!

Art Blakey and the Jazz Messengers' tremendous concert at Club Saint Germain in Paris on December 21, 1958. This record presents the complete set and is produced as a three LP gatefold album with each vinyl one of three different colours: blue, white and red, representing the French flag. Au Club Saint Germain it's a memorable record and winner of numerous awards including the prestigious Grand Prix du Disque in 1959 from the Academie Charles Cros. Art Blakey and his Jazz Messengers are here with Lee Morgan on trumpet, Benny Golson on saxophone, Bobby Timmons on piano and Jymie Merrit on double bass. Drummer Kenny Clarke was living in Paris at the time and joined the group for the songs "A Night in Tunisia" and "Ending with the Theme" resulting in a session that will go down in jazz history!

Celebrated by fans and fellow musicians as being among the blues' most talented and exciting guitarists, Chris Cain is, according to Living Blues magazine, "turning out the best work of his career." Good Intentions Gone Bad debuts 13 striking new songs, with Cain delivering top-shelf performances on blistering shuffles, slow-burning blues and joyful soul. Fellow Alligator artist Tommy Castro guests on one track.

Ein Zwischenspiel & eine Liebeserklärung Geübt, geordnet, wahrscheinlich inszeniert gingen die Beatles im Sommer 1969 über den Zebra Streifen der Abbey Road - 55 Jahre später sind es Brezn und Semmeln, die die vier Oberammergauer Bergschafe über die Kreuzung locken. Die Beatles gingen nach rechts, die Schafe gehen nach links. Wo sie sich treffen? Natürlich auf dem neuen Album von Maxi Pongratz. "I mecht an Landla hean" schiebt sich zwischen Solo-Album zwei und drei wie ein Zwischenspiel. Es ist ein Innehalten und Besinnen auf die Ursprünge, eine Liebeserklärung an die Volksmusik. Schon viel zulange versucht der Heimatsound, Volksmusik wieder 'cooler" zu machen. Sie muss aber nicht 'cool" gemacht werden. Sie ist das, was sie ist: Folk. Was sie nicht braucht - Heimat. Sie kann überall zu Hause sein. In den Melodien von David Bowie und Tom Waits, zwischen den Zeilen von Wir sind Helden, selbst im Dance-Schlager eines Gigi d"Agostino (bei Maxi Pongratz mit Hackbrett-Intro). Maxi Pongratz hat in seinem Repertoire gekramt und erste Kompositionen ("Eiseckla"), übermitteltes Liedgut ("Ich und der Mond", "Landlerrunde") und seine All-Time-Favorit-Coversongs zusammengetragen. So haben sich auf "I mecht an Landla hean" zwölf vorwiegend instrumentale Songs versammelt und es passiert das, was meistens passiert, wenn sich Musikanten spontan an einem (Wirtshaus-)Tisch zusammenfinden - jede*r bringt etwas mit und am Ende wird getanzt.

WAR’s head-nodding mix of music and message started a revolution 50 years ago that continues to win over the hearts and hips of fans around the world. “Greatest Hits 2.0” will be available 29th October and is a new, career-spanning collection that expands on WAR’s platinum-certified 1976 greatest hits album, featuring the legendary songs “Spill The Wine,” “Low Rider,” “Galaxy,” and “Why Can’t We Be Friends?”

WAR’s “Greatest Hits 2.0” 2LP contains 20 tracks, 2CD contains 24 tracks recorded between 1970 and 1994, including the gold-certified singles “Slipping Into Darkness,” “The World Is A Ghetto,” “The Cisco Kid,” and “Summer.” Another gold single, “Why Can’t We Be Friends?” stayed on the charts for 31 weeks and became the soundtrack to the US-Soviet space mission where astronauts and cosmonauts linked up in the spirit of friendship. In the modern era, it has been streamed more than 100 million times. Also included is the #1 R&B smash “Low Rider,” which was inducted into the Grammy Hall of Fame in 2014.

In the collection’s liner notes, Los Angeles Times columnist Gustavo Arellano says GREATEST HITS 2.0 does more than capture WAR at its creative and commercial peaks. He writes: “All the big hits are here, of course, in chronological order from the Eric Burdon days up through cuts from 1982’s underrated Outlaw…But what I love about this collection is that it’s a symphonic suite for a perfect Southern California Sunday afternoon, the kind the rest of the world wants to experience but can only dream about. You can envision it by playing these albums from start to finish.”

Temperature On Arrival. The immediate sensory impact as you enter the venue. The vibe, energy and intensity. The movement of the crowd, the atmosphere of the space, the initial impression when stepping onto the dancefloor. The surge as the music hits you.

Temperature On Arrival is here to deliver the feels and control the climate, with the coldest beats and toastiest grooves. The UK-based duo are set to soundtrack the seasons, kicking off with two scintillating house cuts that resonate within the intimate confines of smaller venues, to the vast openness of clubs and summer terraces. Featuring the soulful vocal talents of London's Deli OneFourz on 36 Degrees and the inspirational Minister and singer, Anthony Hainsley on The Tunnel, with Adrian McLeod on keys across both tracks.

The sunshine vibes are high on '36 Degrees’ as Temperature on Arrival move the mercury, whilst setting the vibrations of the dancefloor. Throbbing drums and a thick bottom-heavy bassline are adorned with chimes, rhodes chords and the velvety vocals of Deli OneFourz. All fused together with a serious serving of bump.

Spirits rise further on the Gospel-infused, ’The Tunnel’, as Anthony Hainsley inspires with his message of perseverance.The track's relentless four-four stomp symbolises the resilience and collective spirit to keep moving, “somehow”, and serves as a joyous reminder of the celebration of dancing together.

TOA, the new tone setters, tastemakers, and temperature takers – and the heat is undeniably rising.

Da Best Riddim Eternal Action Krew ! Here is the mission that DA BREAK has given itself for this 3rd album : To drop a new
opus of great quality, which will remain eternally engraved in the memories of Soul Music... BOOM! As simple as that! ;)
Jennifer "Hawa" Zonou & Rémy Kaprielan, founding members of the group, have decided to tighten the ranks and clarify
the content of their music: an aesthetic still anchored in their dear 90's Soul Hip Hop culture, but also with a sharpened ear,
attentive to today's world and sounds, always searching for federating grooves and warm vibes.
DA BREAK has entrusted the production of the LP to Pierre Vadon (also the band's Live keyboard player) who has already
proved the quality of his compositions and arrangements on the second album LET IT SHINE. The mission remains
unchanged: to gather, in the line of the social values defended in the 90s urban music, crib of their inspiration. Grounded,
conscious, questioning, celebrating, comforting, staying open to the world and to each other. Each song is a painting, a
story, a reflection...
Composed during an intense period on the emotional level, this album is a subtile mixture of musical influences: from the
most old school Hip Hop beat to the most contemporary flow, going from West Coast vibes to Caribbean colors. DA BREAK
IS BACK and its key word remains the same: GROOVE.

Being back in the prairies after decades away opened up boxes of tightly wrapped insanity, delicate stuff, and bizarre things. The joy and sorrow of the place drives me into the Blues studio to make more art for you. It's made with big heart from way out West, to keep you alive and virile.”

Welcome back. Where's the party at? Son Of Dave's 11th album kicks off with homecoming outbursts. After 26 years in London UK he's back in the Canadian Prairies demanding as much attention as always. Themes of flat Midwest cities, classic-rock lovin' truckers, and a weird call for More Mayonnaise will keep his multitude of international fans chuckling. The usual Son Of Dave bag of tricks colours the album: Blues-harmonica, beat-box, cheap electric guitar, and that voice that shouts and croons his own brand of Blues infused old-school R&B.

As always, he messes with different rhythms: Funk, Boogaloo, Rock-Steady, or Techno, always doing it his own way. How do you categorize a Son of Dave album? He's become his own style, loved and shared by millions of fans worldwide. That's why you'll find his music in the Breaking Bad soundtrack and many more. You'll hear it on college radio or boomer generation blues radio programs from Switzerland to Argentina. A true maverick Bluesman.

Most of the record is done completely himself. All writing, instruments, editing, recording, mixing and artwork. You're welcome. Three exceptions are “Where's The Party At” , produced by long-time collaborator Tim Gordine in London, and two recorded on Vancouver Island by Zac Cohen at lovely Woodshop Studios, “Yahoos” and “I Told You All I Know”. The album will be released on July 12th. Four singles will lead up. Plenty of videos and fun coming. Shows and tours forthcoming.

Emilia Sisco's latest 7" vinyl single is a testament to the timeless allure of vintage soul music. Backed by the esteemed Timmion Records house band Cold Diamond & Mink, Sisco delivers a stellar double-sider that captivates you from start to finish. On the A-side's "Lemon Lime Sour" Sisco's spirited vocals soar over infectious crossover soul terrain, creating an irresistible groove that celebrates the bittersweet feeling of falling in love. The track's joyful energy invites audiences for a dance along its uplifting message. Flipping the record reveals the B-side, "Love Can Carry Me," a soul-stirring beat ballad that showcases Sisco's growth both as a songwriter and a vocalist. The song's emotive lyrics and dark melodies create an intimate atmosphere, drawing listeners into its introspective narrative of resilience and hope. During these tumultuous times, the two tracks encapsulate what funky, emotion-driven music made by real humans is all about, blending Sisco's undeniable vocal talent with Cold Diamond & Mink's impeccable musical craftsmanship. With its universal themes and timeless appeal, the new single is poised to resonate with soul music enthusiasts around the globe.

Limited Transparent Green Vinyl. Emilia Sisco's latest 7" vinyl single is a testament to the timeless allure of vintage soul music. Backed by the esteemed Timmion Records house band Cold Diamond & Mink, Sisco delivers a stellar double-sider that captivates you from start to finish. On the A-side's "Lemon Lime Sour" Sisco's spirited vocals soar over infectious crossover soul terrain, creating an irresistible groove that celebrates the bittersweet feeling of falling in love. The track's joyful energy invites audiences for a dance along its uplifting message. Flipping the record reveals the B-side, "Love Can Carry Me," a soul-stirring beat ballad that showcases Sisco's growth both as a songwriter and a vocalist. The song's emotive lyrics and dark melodies create an intimate atmosphere, drawing listeners into its introspective narrative of resilience and hope. During these tumultuous times, the two tracks encapsulate what funky, emotion-driven music made by real humans is all about, blending Sisco's undeniable vocal talent with Cold Diamond & Mink's impeccable musical craftsmanship. With its universal themes and timeless appeal, the new single is poised to resonate with soul music enthusiasts around the globe.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Hannah Mohan’s new album is a first in more ways than one. Time Is a Walnut is the first solo release from the Western Massachusetts singer and songwriter, after nearly a decade fronting indie-pop band And the Kids. The album also comes amid the longest stretch Mohan has spent in one place since she left home at 16 to hop freight trains and hitchhike across North America.

Making music has been at the center of Mohan’s life ever since, even as other circumstances have changed—sometimes radically. A long-term relationship crumbled in 2019. Then the pandemic arrived, bringing an end to her band. After writing a batch of new songs taking stock of her situation, Mohan asked Alex Toth of Rubblebucket and Tōth to produce them, the latest installment of a longtime friendship and occasional creative collaboration.

Although Time Is a Walnut is a breakup album, don’t go in expecting tearjerkers. Mohan draws from a richer palette here, with themes of messy eroticism on the sultry “Soaked,” altered consciousness on the buzzy rocker “Heaven and Drugs,"" and navigating personal hells with Lady Lamb on “Hell.” Throughout, the songs showcase Mohan’s powerful voice, prismatic melodicism and distinctive lyrical sensibility as she processes major events in her life.

Having lovingly reissued the first four albums by our all-time favorite all- female punk band, we now turn our attention to The Donnas’ major label debut for the Atlantic label, where they went after recording a quartet of classics for Lookout! 2002’s Spend the Night was by far the band’s most popular album, hitting 62 on the Billboard charts, but it wasn’t just the major label distribution mojo that upped the sales. This record doesn’t have a dud on it, and boasts such Donnas devastators as “Who Invited You,” “Take It Off,” “You Wanna Get Me High,” and “Pass It Around.” Indeed, with one killer hook after another, the big mystery about this record is, why didn’t it make them superstars? Our reissue also includes “Big Rig,” which was on the original LP release but got left off the CD, and the insert featuring lyrics and a Freddy Krueger guest appearance. Hot pink vinyl!

The series third 7” presents Geneva based singer Jah Bast. ‘Far I Love’ is a chant to the Most High. The riddim and mix get as dread and terrible as Jah Bast message of love gets powerful. Version of the B side for all DJ to mash up the riddim inna dance!

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

A journey, in 16 tracks, through the career of this pioneer band of the Latin American Punk 'n' Roll scene, active since 1987 and founded in the city of Quilmes (Argentina). Punk 77, Street Punk and Punk 'n' Roll on glorious vinyl and for the first time in Europe. DESCRIPTION Doble Fuerza is a pioneering band of the Latin American punk 'n' roll scene that has been active since 1987 (hence the title of the LP). Founded in the city of Quilmes (Argentina), south of the Buenos Aires metropolitan area, they have built their own recognizable sound, influenced by punk 77, street punk and punk 'n' roll. For the first time in Europe, on a long-playing record, on glorious vinyl, 16 tracks that represent a detailed tour through Doble Fuerza's 35-year career, remastered for the occasion. The result is most entertaining and activating. Primitive sonorities of angry young men doing street-punk without concessions in "Disturbios" Riots and "La Vida Se Va" Life Goes, give way to heartfelt street love in a hard-power-pop vein ("¿Por Qué No Me Llamas?" [Why Don't You Call Me?], "Encontrarte" [Find You], "Sola" [Alone]) and Ramonesian essences in "Desocupado" [Unemployed]. And all of this leads to their personal punk 'n' roll sound with a Buenos Aires accent, i.e. punk-rock clearly influenced by punk 77 and the rock 'n' roll of the 50s and 60s. In "Leave Me Alone", "Anestesiado" [Anaesthetised], "Grito de Revolución" [Revolution Yell], "Almas Gemelas" [Twin Souls] and "Canción de Libertad" [Song of Revolution] you can sense some of the many bands of the three decades that are part of their wide musical background and that have served as teachers to forge their style. Nor do they forget the cheerful tavern hymns to sing loudly and to overcome the struggle and heartbreaks with good humor, "Otra Vuelta de Cerveza" [Another Round of Beer] and "El Rey del Fernet" [The King of Fernet]. The three covers of this collection deserve special mention. Three adaptations sung in Spanish that the quintet led by Hugo Irisarri makes totally their own: "Pibes de Barrio" (Cockney Rejects), "Laburando" (Cock Sparrer) and "Spanish Bombs" (The Clash). The accent may be different, but the situations, the sound references, the messages... become immediately familiar and recognizable. "1987" is a careful presentation letter on this side of the pond of the Argentinean band's wide repertoire that unites commitment, fun and enthusiasm in equal parts

Es ist 6 Jahre her, dass wir das letzte Mal von Adrienne Pauly gehört haben. 6 Jahre sind lang und kurz zugleich, die Zeit, die ihre Lieder brauchten, um zu reifen und zu reifen, um veröffentlicht zu werden, um uns angeboten zu werden. Dieses dritte Album ist ein persönliches Werk, in dem Adrienne sich uns mit Poesie anvertraut und uns in ihr Universum hineinzieht, das sofort identifizierbar und doch so ganz anders ist. Es ist ein Album, an dem die langjährigen Weggefährten Gaby Concato (Melissa Mars, Jacques Dutronc, Vanessa Paradis) und Axel Concato (PY JA MA) sowie die Seele der Stranglers, Jean-Jacques Burnel, mitwirken. Die Schauspielerin und Sängerin feierte ihren ersten musikalischen Erfolg 2006 mit ihrem Debütalbum, das von den Singles "La fille du prisunic" und vor allem "J'veux un mec" getragen wurde. Diese brachten ihr im selben Jahr eine Nominierung bei den Victoires de la Musique in den Kategorien "Album Revelation of the Year" und "Artist of the Year" ein. 2024 freut sich Kuroneko nun Neues der Künstlerin veröffentlichen zu können.

Two track EP from the Italian early 90's cult label, Interactive Test, helmed by legendary Falsini brothers. Both sides going generously past the 8 minute marker and well into the upper 120 BPM class of affairs, "Farf-Ability" is another show case of the experimentally excursive approach to the early Italian progressive sound, this time on behalf of Francesco Farfa. Two flavours served confidently: uplifting daytime ravey on the A side, and darker trancier night time on the B side, heavy on the percussive samples. Remastered and re-issued with new full cover artwork, featuring photographic evidence of a special moment in time for Italian rave culture.

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Repress!

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

2nd edition with alternative sleeve and label design.

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

Past collaborators of Decosimo include indie/folk artists Jake Xerxes Fussell, Wye Oak, and Hiss Golden Messenger. Past collaborators of Schrey include experimental/sound artists Alvin Lucier, Gordon Mumma and Yasunao Tone. In April 2021, Joseph Decosimo, Luke Richardson, and Cleek Schrey three of the most compelling interpreters in the American traditional music scene gathered at a cabin in Tennessee to explore their collective repertoire of Old-time fiddle and banjo tunes, gleaned from visits with older players, field recordings, and vintage 78s. Working with fiddle, hardanger d’amore (a fiddle with sympathetic strings), banjos, and a 19th-century pump organ, the trio captured both the sonic details of their instruments and a generous musical interplay rooted in a dozen years of collaboration. Their debut album, Beehive Cathedral, presents resonant, thoughtful, and expansive explorations of Appalachian and American music. The results showcase deep Details study and enveloping, exhilarating performances. A rich vein of stories and relationships to people and places underpin Beehive Cathedral. Much of the album draws on Decosimo’s experiences learning the music of Tennessee’s Cumberland Plateau, where he grew up and worked as a folklorist. A key source of inspiration was fiddler Clyde Davenport (1921-2020), “Clyde was a social and musical trickster who knew hundreds of old tunes and had an uncanny ability to recall each piece in exquisite detail,” says Decosimo. “During my visits, he’d play breathtaking local pieces from his father Will, who was born in 1868. His father had learned some of them from a neighbor who was born in 1829.” "This record expresses some of what we hear in Southern traditional music: the ring of the strings, the buzz of the tunings, the hum of the organ,” explains Schrey. Spending time listening to old recordings and imagining how those sounds were made has made the trio keenly interested in the relationship between physical motion and sound in their source material. The result is a dense layering of sounds and interaction. Of this sonic interplay, Irish fiddle luminary Martin Hayes observes, “The sound of a beehive conveys the idea of a unified harmonious soundscape which is how this recording sounds. Beehive Cathedral is a sonic delight, a beautiful blend of Old-time soundscapes and more. This is a hypnotic recording that is grounded, subtle and refined

Chris Potter is one of the world's greatest Saxophonists - the new record features the global supergroup: Brad Mehldau, Brian Blade and John Patitucci

Eagle's Point by Chris (quartet) Potter, released 8 March 2024, includes the following tracks: "Indigo Ildiko4", "Aria For Anna", "Ma4laga Moon" and more.

This version of Eagle's Point comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a opaque, blue disc. Another vinyl is pressed as a opaque, blue disc.