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Willie Nelson feiert 2021 seinen 88. Geburtstag. Von Ruhestand will der Country-Sänger aber nichts wissen. Zum Glück. Stattdessen veröffentlicht er sein mittlerweile 71. Soloalbum.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Melbourne’s Cool Sounds return with their fourth full-length album Bystander, out February 12. Warm and deftly balanced, Bystander moves through indie rock and alt-country with an alert effortlessness.

Cool Sounds’ signature lead guitar lines are in dialogue with lead singer and songwriter Dainis Lacey’s lyrics, which are at turns introspective, self-aware, irreverent and unflinchingly observant. Bystander was written during a European summer and recorded in three weeks over the following Australian one, produced by Lacey alongside Dylan Young (Way Dynamic). While it can sound serene, Bystander isn’t always as laid back as the warm weather might suggest: this album sees Cool Sounds more attuned to their surroundings than ever. While Lacey has always been interested in storytelling, these songs bring lyrics into sharp focus – for the first time the words were all written before the music, and he took notes in the band’s cramped tour van on the autobahn and while wandering through small towns in France and Italy, reflecting on his home while away from it.

Bystander sees Cool Sounds explore the contemporary moment and the everyday with nuance and dexterity, never losing sight of the intimacy and charm that characterises their work. An exercise in observation and reflection, Bystander takes snapshots and zooms in, underlines phrases, and asks its listener to continue paying close attention.

Cool Sounds are Dainis Lacey, Nick Kearton, Ambrin Hasnain, Steve Foulkes, Jack Nichols, Pierce Morton

Produced by Dainis Lacey and Dylan Young

Engineered by Dylan Young

DJ Support
Nathan Micay, Madam X, Ben UFO, Extrawelt, Answer Code Request, Mosca, Foul Play, Crazy P (Hot Toddy), Lauer, Ben Sims, Om Unit, Martyn Bootyspoon, hrdvsion, Nick Craddock, Kikelomo, Laurent Garnier, Carl Craig, Addison Groove, My Nu Leng, Anja Schneider, Ame, Kassian, Orde Meikle (Slam), Richie Hawtin, DJ Autumn (Banoffee Pies), Henry Greenleaf, Rhyw, Fault Lines, Bake, Sly-One, Mak & Pasteman, Littlefoot + more

Nubiyan Twist return with their brand new album ‘Freedom Fables’ on Strut on February 5th, the follow-up to the acclaimed ‘Jungle Run’ from Spring 2019.
‘Freedom Fables’ is the most accomplished yet by the Leeds / London collective, effortlessly fusing different soul, jazz and global styles with great musicianship and lyrics.

Guest artists include Cherise, Ego Ella May, Soweto Kinch, Pat Thomas and KOG

Electronic four-piece Big Yawn invites five revered artists to reconstruct their debut album No!, originally released in March 2020 through Research Records.

The remixes convey a unique combination of darker textures and brooding sounds, clearly indebted to their source material.

The release features interpretations from Sleep D, Jay Glass Dubs, Maria Moles, Bullant and Raymond Scottwalker.

Rhythm merchants Sleep D (Butter Sessions) up the tempo and weave their signature expansive production in their fearless take on 'Reflex'.

Prolific producer Jay Glass Dubs (Bokeh Versions) flavours the 'Body Double' refix with looping clattering drums and glitchy murk, creating a compelling arrangement.

Like a drift into a warm gorge, percussionist Maria Moles (Nice Music) inserts gentle sustained synth work into 'Doodle Damage'.

Bullant (Flightless Records) pulls the listener out abruptly with a rework of 'Skinrat', a house-streaked churner.

Raymond Scottwalker (Fallopian Tunes) wraps up the record with another rework of 'Reflex', creating a mind-bending, aggressive industrial rejig.

Big Yawn's remix EP is a dynamic pairing to No!, entrusting an exceptional group of musicians to adhere to the spirit of the record, yet take it in a totally re-imagined direction

Rhythm Section welcomes Nicola Cruz to the fold with his debut EP on the imprint - “Subtropique”. Inspired by an Ecuadorian upbringing, percussion is at the heart of how Nicola operates. His rhythmic style finds a natural home on the London label - which presents 5 expansive efforts equally indebted to traditional drumming as they are to contemporary club sounds. Remaining sonically cohesive without feeling the need to settle into a definable style - the tracks are tied together by a lucid psychedelic thread which, despite challenging the expectations and fundamentals of electronic dance music - demand movement at a time where we yearn for it.

Sixteen years after their previous effort, in 2017 Nicola Conte met again his friend and colleague Gianluca Petrella, an encounter that led to the release of 3 EP's and this full-length album. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of "People Need People" drags us in search of deep music in a spiritual and mantric context, with a message of hope, aggregation and Universal Love. More than just a new album, it's a collective experience wisely directed by the duo, whose goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, "People Need People" proves to be even more essential and necessary.

"Sassy" Sarah Vaughan was a singer whose respect from fellow
artistes was as great as her popularity with fans. No less a
personage than Frank Sinatra once said, with tongue firmly in
famous cheek, that "Sassy is so good that when I listen to her I
want to cut my wrists with a dull razor." Vaughan certainly had
the smoothest voice of her generation. She could swoop from
the highest of notes down to the depths. The material
showcased here ranges from 1945 to 1959 and majors on
excerpts from the Great American Songbook like Nice Work If
You Can Get It, tackled here in 1950 with George Treadwell
and his All-Stars.

With a name as bold as Junglepussy and an artistry to match, Shayna McHayle is New York's premier rap rule-breaker. Honest, funny, and freaky, her rhymes span from the explicitly audacious to the tenderly relatable. Her unfailingly confident flow accentuates her roots in Brooklyn (her parents are from Trinidad and Jamaica), and her bars land with cool impact. In the universe that is Junglepussy, relationships are complicated, vegetables are magic, and an excellently delivered flex on an ex is one punchline away. Jp4 is Junglepussy's stellar next phase. With contributions from vocalist Ian Isiah, rapper Gangsta Boo, and producers Dave Sitek and Nick Hook, Jp4 is Junglepussy ascended. After almost a decade of experimenting, Junglepussy feels she's finally living up to her name. The numerology of four, in its foundational symbolism, is an apt frame for Jp4. Over an eight year career, Junglepussy's music has led her to lecture at Yale and Columbia, create her own Junglepussy Juice, star in 2018 feature film Support The Girls, and embark on sold-out domestic and international tours. For Junglepussy, Jp4 is a culminating moment_one that holds the essence of closure while hinting at an exciting and expansive future.

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

With a name as bold as Junglepussy and an artistry
to match, Shayna McHayle is New York’s premier rap
rule-breaker. Honest, funny and freaky, her rhymes
span from the explicitly audacious to the tenderly
relatable. Her unfailingly confident flow accentuates
her roots in Brooklyn (her parents are from Trinidad
and Jamaica) and her bars land with cool impact. In
the universe that is Junglepussy, relationships are
complicated, vegetables are magic and an
excellently delivered flex on an ex is one punchline
away.
‘Jp4’ is Junglepussy’s stellar next phase. With
contributions from vocalist Ian Isiah, rapper Gangsta
Boo and producers Dave Sitek and Nick Hook, ‘Jp4’
is Junglepussy ascended. After almost a decade of
experimenting, Junglepussy feels she’s finally living
up to her name. The numerology of four, in its
foundational symbolism, is an apt frame for ‘Jp4’.
Over an eight-year career, Junglepussy’s music has
led her to lecture at Yale and Columbia, create her
own Junglepussy Juice, star in 2018 feature film
‘Support The Girls’ and embark on sold-out domestic
and international tours. For Junglepussy, ‘Jp4’ is a
culminating moment - one that holds the essence of
closure while hinting at an exciting and expansive
future.
First-ever physical release for Junglepussy.
Remixes / features / collaborations include Kelela,
Vic Mensa, Gabriel Garzón-Montano, Rico Love and
many more.

Legowelt teams up with medieval music expert Jimi Helinga once again for a new album in their 'para-academic' Zandvoort & Uilenbal project. Folk Triumfator is the successor to the cult 2016 GERUIS UIT SOMBERDORP in which they return to appropriate historical instruments and mix it with 'modern'synthesizers. We can hear a medieval Hurdy Gurdy, A Victorian Harmonium, a 1950's Mixtur Trautonium, an electro acoustic thumb harp and much more, all mingled and amalgated into the unique Zandvoort & Uilenbal sound. It all crackles and squeaks like an old haunted ship drifting into a foggy sinister harbour while being obsvereed by Ligottian clown puppets. We can write how conceptual and arty this all is but let's just say this is hardcore dark ambient with lots of medieval drone space jazz influences to trip your mind out into a region where time and your opinions cease to exist.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

James Johnston (Gallon Drunk / Nick Cave / PJ Harvey) and Steve Gullick (renowned music photographer) are pleased to announce their new album out on the 26th Feb 2021. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they’d unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became WE TRAVEL TIME.The result is a deceptively crafted album that slowly reveals – and, more importantly, embraces – beauty in its cracks. Piano, voice, violin and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds – birds, rain, cars, clocks, distant voices – also drift in and out, melting into the music’s fabric via windows left open during the early 2020 heatwave. WE TRAVEL TIME, nonetheless, resists definition, remaining enigmatically timeless.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

Arnau Obiols und KAYYAK haben sich erst letztes Jahr über ihre Freundinnen kennengelernt, die zufälligerweise Schwestern sind. Wie man sich vorstellen kann, dauerte es nicht lange, bis sich die beiden Schwäger zum ersten Mal im Studio trafen – begleitet vom Schweizer Bassist Jules Martinet, mit Vocals des südafrikanischen Sängers B’utiza und des mosambikanischen Sängers Tcheco (Teil der legendären Band Ghorwane, Real World Records).

Die Energie wurde während der Produktion der Songs zum Leben erweckt und resultierte in zwei großartige Originale. Folkloristische Tradition in moderner Komposition, akustischen Drums, Percussion mit Acid-Elementen, Echo-Feedback und psychedelischen Klängen, alles durchdrungen mit funky Basslines.

Zusätzlich gewannen sie Kalabrese und MLiR, auf der B-Seite ihre Remix-Künste beizutragen. Beides Künstler, die Arnau und Kay besonders am Herzen liegen.

This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.

After playing in Bodcast with future Yes guitarist Steve Howe, Dave Curtiss and Clive Maldoon formed blues-rock duo Curtiss Maldoon, their self-titled debut released on Deep Purple’s label, Purple Records, in 1971. For the LP, the pair was backed by top session
players including Mighty Baby’s drummer, Roger Powell, as well as Howe on the final track; contemplative folk-rock track “Sepheryn” would later be immortalized in altered form by Madonna as techno classic “Ray Of Light,” but is included here in all its original glory, along with four rare bonus tracks from the same sessions, left off the original release, making this expanded reissue the best way to experience the band at their finest.
Limited vinyl reissue on 180gr vinyl, featuring 4 bonus tracks.

Esteemed drummer Brian Davison was a key part of The Nice during the mid-60s, and when Keith Emerson quit to form ELP, Davison put together Every Which Way with former Skip Bifferty frontman Graham Bell, bassist Alan Cartwright, guitarist John Hedley and saxophonist Geoffrey Peach. Self-titled debut LP, released by Charisma in 1970, was an intense slice of prog with excellent sax solos, emotive vocals, tasteful bass, soaring guitar and forceful drumming, but Cartwright soon joined Procol Harum and Davison drifted into Refugee, making this album the group’s sole release. Well worth exploring, it’s another
highly sought-after album for fans of well-produced prog.

With his new album, Year Of The Living Dead, Vienna-born and LA-based producer John Tejada finds a blissful extended moment of balance between the new and the familiar. Anyone who’s followed his career to date, which has included four previous albums for Kompakt, outings for storied labels like Plug Research, Playhouse and Cocoon, and numerous remixes and collaborations – most recently, his Wajatta duo with actor and musician Reggie Watts – will immediately sense the warmth and eloquence that Tejada brings to his gilded, pliant techno and electro hybrids. But there’s more here, too; an explorer’s glimmer in the producer’s eye, as he gets to grips with new ways of working and being, while offering a reflective opening for the listener, something echoed in artwork by graphic designer and ‘contemplative artist’ David Grey.

“The album was started using tools I was unfamiliar with, which became an interesting exploratory process,” Tejada says. “Staying away from the obvious and having to re-learn simple things was a fun challenge.” You can hear these new creative pulsions pushing the eight tracks on Year Of The Living Dead ever-forward; the album has an unique cast, and though there are trace elements of the genres Tejada has indulged previously, he’s never quite put them together this way before. There’s the dubwise glitter sprinkled across the moody opener “The Haunting Of Earth”, the kind caresses found amongst the deftly woven textures of “Sheltered”, and the churchy melancholy, all hymnal and golden, of “Echoes Of Life”.

Year Of The Living Dead also speaks obliquely to its moment, though Tejada works this implicitly, allowing the strange circumstances of 2020 to cast their inevitable shadow without being obvious or didactic. “The production process began right before lockdown and continued through what felt like a very serious time for all of us,” he recalls. “Not being able to see or touch our loved ones made me feel we are all like ghosts. We can observe from a distance but cannot really be there. We are isolated and alone.” And yet, Year Of The Living Dead’s tenderness offers an out for that anxiety and loneliness, its intimate immensities gifting the album a redemptive and compassionate core. Compact and glistening, Year Of The Living Dead sculpts unassuming beauty.

Mit seinem neuen Album “Year Of The Living Dead“ findet der in Wien geborene und in Los Angeles lebende Produzent John Tejada die richtige Balance zwischen Neuem und Vertrautem. Wer seine bisherige Karriere verfolgt hat, seine vier Alben für Kompakt, Beiträge für Labels wie Plug Research, Playhouse und Cocoon, zahlreiche Remixe und Kollaborationen wie zuletzt das Projekt Wajatta zusammen mit dem Schauspieler und Musiker Reggie Watts, spürt sofort wieder die Wärme und Eloquenz, die Tejada in seine geschmeidigen Techno-Elektro-Hybride einbringt. Doch es geht auch noch einen Schritt weiter. Da ist dieses Aufblitzen des Entdeckers im Auge eines Produzenten, der sich mit neuen Arbeits- und Seinsweisen auseinandersetzt und dem Zuhörer gleichzeitig etwas sehr Offenes und Nachdenkliches anbietet, etwas, das im Artwork des Grafikdesigners und "kontemplativen Künstlers" David Grey nachklingt.

"Ich hatte angefangen, das Album mit mir noch unbekannten Tools zu produzieren, was sich zu einem interessanten Forschungsprozess für mich entwickelte", sagt Tejada. "Sich vom allzu Offensichtlichen zu trennen und einfache mal Dinge neu lernen zu müssen, war eine recht spaßige Herausforderung.“ Man kann diese neuen kreativen Impulse hören, die “Year Of The Living Dead“ auf einer Länge von 8 Tracks nach vorne treiben; das Album hat einen einzigartigen Ansatz, denn obwohl es Elemente der Genres gibt, denen Tejada zuvor gefrönt hat, hatte er sie doch noch nie zuvor so zusammengefügt wie hier. Da ist dieses dubbige Glitzern im atmosphärischen Opener "The Haunting Of Earth", die freundlichen Zärtlichkeiten, die man in den Texturen von "Sheltered" findet, und schließlich die heilige Melancholie im hymnischen "Echoes Of Life".

Auch “Year Of The Living Dead“ enthält Andeutungen auf die momentane Situation und erlaubt es, den seltsamen Umständen des Jahres 2020, ihren unvermeidlichen Schatten zu werfen, ohne dabei zu offensichtlich oder gar belehrend zu sein. "Der Produktionsprozess begann kurz vor dem (ersten) Lockdown und setzte sich in einer Zeit fort, die sich für uns alle als eine sehr ernste Zeit anfühlte", erinnert er sich. "Da wir nicht in der Lage waren, unsere Lieben zu sehen oder zu berühren, hatte ich das Gefühl, dass wir alle wie Geister sind. Wir können nur distanzierte Beobachter sein, aber wir können nicht wirklich anwesend sein. Wir sind isoliert und allein." Und doch scheint die Zärtlichkeit von "Year Of The Living Dead" einen Ausweg aus dieser Angst und Einsamkeit anzubieten, die grenzenlose Intimität des Albums enthält einen erlösenden und mitfühlenden Kern. Derart konsistent und schillernd formt "Year Of The Living Dead" eine unprätentiöse Schönheit.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Crepuscule presents La Jungle, a brand new electropop single by acclaimed Belgian DJ, producer and remixer Buscemi, featuring with vocal and lyrics by compelling newcomer Lauvé.

The vinyl single is a limited edition edition of 500 copies in orange vinyl, with cover photography by Laura Levasseur.

Since 2001 Buscemi (real name Dirk Swartenbroekx) has released eight solo long players as well as mix albums for Blue Note and Ministry of Sound, and also film and television soundtracks.

Remix clients include Melody Gardot, Isabelle Antena, Calexico, Hooverphonic and Nicola Conte. Seaside, his 2003 collaboration with Isabelle Antena from signature album Camino Real, remains a perennial favourite around the globe. His eighth studio album, Luna Misteriosa, was issued by Crepuscule in 2018.

Hard-edged retrofuturist synthpop track La Jungle heralds forthcoming album Mistral du Sud (TWI 1250) and features guest vocals from Lauvé, formerly of Brussels electronic pop duo P.A.N.T.H.E.R. “La Jungle is about a man-eater,” explains Lauvé (pronounced lo-vay). “She seduces her prey, little by little – then either devours him, or drives him away. It’s a song that allows a woman to have control over the game of seduction. It’s empowering, I hope – but with a hint of recklessness too.”

Nach einer Dekade in der ersten Reihe von Bassmusik/Dubstep geht der britische Produzent Flux Pavilion nun neue Wege. Sein neues Album ".wav" ist ein Meisterwerk aus 16 EDM-Tracks mit Pop-Appeal, auf denen Synths, E-Gitarren und Pop-Melodien dominieren, die nun auch sein Liveprogramm prägen. Dabei verzichtet er nicht auf die bewährten Features, die seine Releases schon immer auszeichneten. Mit dabei sind diesmal die UK Produzenten Feed Me und Chime, das Folk-Pop-Duo Turin Brakes, die kalifornische Shoegaze-Band Drowsy, die New Yorker Sängerin Meesh sowie US-Indietroniker The Chaingang Of 1974. ".wav" ist erhältlich als Gatefold 2LP und Tape.

This is KORPSE, a quartet of death metal destruction from The Netherlands. Insufferable Violence marks KORPSE’s third full-length album, set for release via the indomitable Unique Leader Records on 26th February. By far the most brutal and dark album KORPSE has produced yet, the band deliver eleven tracks of jaw dropping Death Metal carnage. During Insufferable Violence’s forty-two minutes of chaotic punishment and depravity the band seem on a mission to turn their listener to dust beneath a ceaseless torrent of immensely heavy slam breakdowns, inhuman vocals, grinding speed and aggression. KORPSE once again bring their no-nonsense approach to the slamming death genre with no compromise or false overstatements in one of this year’s heaviest releases. The result is a deeply uncomfortable listen. Comments KORPSE: “We are very proud to present to you our third album called Insufferable Violence. The title is an obvious metaphor for what to expect from the new tracks; relentless brutal death metal in our signature style of the genre. Obviously, the songs are fast, brutal, aggressive, slow and groovy, but we didn't shy away from trying new things. We've incorporated a lot of death metal's neighbouring genres to spice up the mix, varying from beatdown to black metal, and from goregrind to tech death. We feel this is the absolute best album we are able to deliver at this point in our career and we sincerely hope you will become as excited about it as we are!” Founded by drummer Marten van Kruijssen in 2013 together with vocalist Sven van Dijk, guitarist Floor van Kuijk and bassist Robin van Rijswijk, KORPSE are widely regarded for their savage and uncompromising live shows. Previous albums the self-titled Korpse debut (2014) and Unethical (2016) grabbed the immediate attention of fans and press worldwide whilst allowing the band to tour throughout Europe and the USA playing many Summer festivals including Deathfeast, Neurotic Deathfest, Obscene Extreme, Stonehenge, Berlin Deathfest, Nice To Eat You Deathfest, UK Slamfest, Slamming Brutality, Fall in the Brawl, Chicago Domination Fest, New York Deathfest, Heidelberg Deathfest and touring with bands such as Scordatura, and Extermination Dismemberment. If by the end you’re not mauled to pieces, congratulations, you’ve just become one of the survivors of KORPSE’s aural battering ram.

In 2007 bassist Anneleen Boehme was one of the founders of LABtrio, which is considered as one of the most acclaimed Belgian jazz bands of the past decade. Just like her companions Lander Gyselinck and Bram De Looze, she quickly asserted herself in the most diverse contexts. Now Boehme is launching her "dream project": Grand Picture Palace. A jazz quintet and a string quartet that blend different worlds together. Boehme leads and plays bass and has been writing eight compositions that break through genre walls, music both powerful and elegant, showing how jazz and classical music can balance each other without cliches.

All recordings were made in the early summer of 2020 in the studio of mentor and fellow musician Nicolas Rombouts. The self-titled album 'Grand Picture Palace' will be released on February 19th 2021.

Daumenbruch kurz vor dem 30. Geburtstag? Für Nils Frahm kein Hindernis, doch noch rechtzeitig neun intime Klavieraufnahmen einzuspielen und sie seinen Fans anlässlich seines Jubeltags online zur Verfügung zu stellen. Dabei gibt es für einen Pianisten wahrlich kaum eine schlechtere Nachricht als ein Daumenbruch. Frahm, der international längst ein Star der modernen Klassik ist und mit Zeitgenossen wie Olafur Arnalds, Peter Broderick und Efterklang kooperiert, ließ sich von dem Missgeschick (Sturz vom Hochbett) nicht beirren. Entgegen des Rats seines Arztes trainierte er die restlichen neun Finger und nahm peu á peu die vorliegenden neun kleinen Lieder auf. Als der Gips ab war, war das Album fertig. Die Musik ist mal wieder "ein Balsam" (BBC Music). Die LP erscheint inklusive eines Album-Download-Codes.

Yellow Vinyl

Hawaii's legendary Latin superstar Rolando Sanchez & Salsa Hawaii's smash hit "ALOHA MAMBO" Vinyl 7" EP will be released worldwide after its debut in Japan. The jacket illustration by Tammy Yee invites you to a Latin Paradise in Honolulu as you groove to vibrant Latin beats, island-style.

Rolando Sanchez
Rolando Sanchez & Salsa Hawaii
Rolando Sanchez is an award-winning songwriter/producer of Hawaii's leading Latin Jazz, Latin Rock, Salsa percussionists, singer-songwriters, and the owner of RSC Music. Originally from Nicaragua, he began his career in the suburbs of San Francisco and moved to Hawaii in 1984.

He has shared the stage with many of the best of Latin musicians including Tito Puente, Pet & Sheila Escovedo, and regularly appears at BLUE NOTE HAWAII, a mecca of island jazz. In addition, he hosts a live radio show, "LA ONDA LATINA," every Sunday on KNDI-AM1270, featuring the hottest mix of Latin Music in the islands.

He is a leader in the Hawaii-Latino world that connects his hometown of Nicaragua in Central America, to New York, California and Hawaii with a Latin sound infused with island flavors.

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.
Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.
It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.” Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.
Robin is ready to write the next chapter of his very own fairy tale.





e 5. All We Got (feat. KIDDO) Explicit

Doppler Vinyl 2x180g (1xRed 1xGreen vinyl)

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.



Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.



It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.”



Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.



Robin is ready to write the next chapter of his very own fairy tale.

Delicate Sound Of Thunder encapsulates a band at their best. Alongside the classic live album and full concert film (restored and re-edited from the original 35mm film and enhanced with 5.1 surround sound), included in The Later Years box set, all stand-alone editions feature 24-page photo booklets, with the 4-disc box edition including a 40-page photo booklet, tour poster and postcards. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album, while the 2-CD includes 8 tracks more than its original release.

In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.

Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.

Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Technical credits include: Film Producers: Curt Marvis and Carl Wyant; Director of Photography: Marc Reshovsky; Lighting Designer: Marc Brickman, with conceptual footage directed by Storm Thorgerson, except ‘Money’ directed by Storm Thorgerson, Barry Chattington and Peter Medak. Animation on 'Time' was by Ian Emes.

Old Dark House: Suspenseful cinematic ambience and subliminal rhythmic sorcery by Andrew Crawshaw and Corey J. Brewer. Andrew Crawshaw (aka Meridian Arc) and Corey J. Brewer have come together to make music as Old Dark House. This is great news, as these Seattle musicians have proved themselves to be masters of suspenseful cinematic ambience and subliminal rhythmic sorcery. Crawshaw has hosted the Depths night at Substation, at which he and other musicians create new soundtracks for cult-classic films. Brewer famously crafted an alternate score for Stanley Kubrick's The Shining, which he performed at Northwest Film Forum in 2017. As Old Dark House, the duo have recorded their debut album, Welcome Home, with another excellent film-music head, Erik Blood, mixing. Welcome Home's 11 tracks combine Crawshaw's penchant for expansive yet intimate synthscapes and Brewer's mastery of morose songcraft. The latter's voice pitches somewhere between Nick Cave and Edwyn Collins, adding a lugubrious luster to Old Dark House's midnight-blue atmospheres and tension-building rhythms. "Through the Trees" is perhaps the record's most chilling and dramatic moment. The song at once drifts and stomps ominously, as Brewer sings like an opiated Chris Isaak, haloed by a synth motif of vaguely Eastern-sounding grandeur. _ Dave Segal

For Another Michael, it all boils down to trust. In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signaled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, `New Music and Big Pop.' "It's hard for a group of people to get closer than living together," says bassist and producer Nick Sebastiano. "The stronger our connection grew, the more it shaped the music we found ourselves making." It should come as little surprise, then, that `New Music and Big Pop' is Another Michael's most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. As on the band's early EPs, singer and songwriter Michael Doherty's mesmerizing voice is front and center here, calling to mind Robin Pecknold or Ben Bridwell in its reedy, crystalline timbre, but it feels more at home than ever before amidst the album's lush, Technicolor landscape, which the band partnered with producer and fellow housemate Scoops Dardaris to create. The result is a masterfully understated record that belies its status as a full-length debut, a thoughtful, poetic, collection all about growth and change, hope and faith, endings and beginnings, delivered by a band that's only just begun to scratch the surface of their story.

Kompakt welcomes 2021 with a new member that many of you will recognise. For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few.

Orlando Voorn brings his extensive knowledge of Techno and House to the forefront for his Kompakt debut “Internal Destination”. We offer up the title track ahead of the 3 track EP’s February 19 release date. Spacial sounds connect perfectly together – the playfulness of the track feels like each moment is caught in mid-air but the beat keeps it all moving forward without hesitation. “Ride The Wave” rounds out this EP – an electro loop is serenaded by a funked up synth melody that jams to the drum in the most soulful of ways.

Kompakt begrüßt das neue Jahr mit einem neuen Familienmitglied, das dem ein oder anderen geläufig sein dürfte. Schon seit über 3 Jahrzehnten prägt Orlando Voorn die elektronische Tanzmusik wie wenige andere. Als erster holländischer Produzent werkelte er schon sehr früh an der Detroit - Amsterdam Achse (siehe "Game One" mit Juan Atkins oder die legendären Ghetto Brothers Releases mit Blake Baxter). Er hat unter unzähligen Pseudonymen wie Fix, Format oder Frequency Platten veröffentlicht, die heute Kultstatus haben.

Mit seinem Kompakt Debut "Internal Destination" zeigt er, dass seine Musik auch im Jahre 2021 tiefes Wissen verströmt und nichts an Relevanz eingebüßt hat. Der Titeltrack "Internal Destination" ist Groove pur. Räumliche Klänge verbinden sich perfekt miteinander - die Verspieltheit des Tracks fühlt sich an, als wäre jeder Moment in der Luft gefangen, aber der Beat hält alles ohne Zögern in Bewegung."Ride The Wave" rundet diese EP ab - ein Elektro-Loop wird von einer funkigen Synthie-Melodie begleitet, die auf gefühlvolle Art und Weise mit den Drums jammt.

'Open Door Policy' is The Hold Steady's 8th full length studio album and the follow up to 2019's 'Thrashing Thru The Passion'. Produced by Josh Kaufman (The National, Hiss Golden Messenger, Josh Ritter), this new release once again finds the 6-piece line up in peak form in what Craig Finn describes as "the best band we've ever been". The Hold Steady is: Bobby Drake (drums), Craig Finn (vocals), Tad Kubler (guitar, vocals), Franz Nicolay (keyboards), Galen Polivka (bass), and Steve Selvidge (guitar, vocals).

Eternal Tears of Sorrow's long career kicked off with the more thrash metalish debut album in 1997, but it was on the 1998 follow-up Vilda Mánnu ("Wild Moon" in the Sami language of indigenous Lapplandish people) that the band really carved their own niche amid the crowded metal scene. Hailing from Finnish Lappland, ETOS are best known for well-crafted, fierce but melancholic melodic death metal with symphonic overtones, of which this album, their Spinefarm Records debut, is a prime example. This pressing comes in a gatefold sleeve and has been carefully remastered for vinyl.

‘We tend to do the free jazz sessions right at the end of long tours,’ Baldi says, ‘or after making other records, so it’s a nice break from the more
regimented song forms that the other bands have, or from playing the
same songs every night on tour.’
For Baldi & Gerycz, free jazz is a release - something to break apart stretches of familiar songwriting - and because of that, there’s a lot of joy in these recordings - see the raucous album closer ‘The Holy Retrievers (In Transit).’ Admittedly After Commodore Perry Service Plaza is a bittersweet collection, though - compiled from the final session Baldi & Gerycz recorded in person.
As such, it’s a cherished memory - it’s also kindling for creation - those original feelings inspire the duo to find novel ways to collaborate, even perform.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Most listeners only became aware of Billy Preston as a solo artist after he signed to Apple Records in the late 1960s. But he'd been recording for a long time prior to that, dating back to when he was a teenager. This instrumental album for Sam Cooke's SAR label (issued on its sister Derby imprint) was cut in March 1963, when Preston was still going to high school in Los Angeles. The very fact that it's wholly instrumental indicates that it's pretty early in Preston's evolution, and though he does play some piano, it's really on the more uptempo, organ-dominated tunes where he hits the best groove. In truth, these aren't any great shakes even when it comes to soul organ instrumentals, but they have a nice swinging bounce that places them a cut above period background music, though they fall a good ways short of being spellbinding. The slower numbers (including covers of hits by Sam Cooke and Ray Charles) verge on easy listening; in contrast, the more urgent cuts are cookin', with bop, jazz, and gospel influences spicing up the soul/R&B recipe. (allmusic)