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A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is set for release on
19th July via Night Time Stories / Late night Tales
An avid collector of jazz, blues, soul, funk, reggae, and all things in-between; Ash has DJed far and wide... from the infamous
Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA.

Repress!

StarWax magazine celebrates its fifteenth year, it is in the extension of the anniversary event that the vinyl Wild Star Wax 15 Years Edition in Partnership with Overdrive is born!

Curated and Seòected by Dj Coshmar for the most famous STARWAX magazine a powerful dancefloor combo for djs, diggers and clubbing addicted.

Available in stores from September 2022, the tracklist contains six tracks of cumbia, disco, creole funk, bass music and hip-hop that are available exclusively in this vinyl format, at exception of "An Tèt Aw" the last title of side A already available on the Lp of DjeuhDjoah &
Lieutenant

In November 2021, Portland-born rapper Aminé released his latest project, TWOPOINTFIVE. The twelve-track release finds Aminé using the project to explore new sonic territory. This exploration is best evidenced by the project’s lead single "Charmander,” the video for which was lauded by GQ as the "Most Menswear-y Music Video of 2021" for its incredible styling and featured by Pitchfork as one of the best music videos of October 2021. After six months of anticipation, Aminé has prepared a vinyl offering for fans of the project to add to their collection for the very first time. Since its release, the album has amassed over 100 million streams and garnered praise from Billboard, Complex and Highsnobiety, in addition to the aforementioned support from Pitchfork and GQ. The vinyl will be sold online this summer and in-store with select retail partners. Speaking on the project, Aminé shares: "The POINTFIVE projects are the breaks in between albums where I give myself the freedom to make music without expectations, focusing instead of spontaneity and the best of what comes from stream of conscious creation, which is why they arrive unexpectedly without a long rollout. It’s an opportunity to create for my day one fans the way I used to in my bedroom. Thanks for listening." TWOPOINTFIVE takes inspiration from various strains of club and dance music, synthesized in a way that feels distinct to Aminé and his brand of clever lyricism. TWOPOINTFIVE acts as the second act to his 2018 project ONEPOINTFIVE, which is also lead with an introduction from Rickey Thompson and arrived in between Aminé's debut album Good For You and sophomore album Limbo. ONEPOINTFIVE solidified Aminé's status as a hitmaker in the modern hip-hop landscape with tracks like "REEL IT IN" and "BLACKJACK." Listen to TWOPOINTFIVE above and stay tuned for more from Aminé coming soon. Full Press Report PDF - Artist Bio - PR Report

In November 2021, Portland-born rapper Aminé released his latest project, TWOPOINTFIVE. The twelve-track release finds Aminé using the project to explore new sonic territory. This exploration is best evidenced by the project’s lead single "Charmander,” the video for which was lauded by GQ as the "Most Menswear-y Music Video of 2021" for its incredible styling and featured by Pitchfork as one of the best music videos of October 2021. After six months of anticipation, Aminé has prepared a vinyl offering for fans of the project to add to their collection for the very first time. Since its release, the album has amassed over 100 million streams and garnered praise from Billboard, Complex and Highsnobiety, in addition to the aforementioned support from Pitchfork and GQ. The vinyl will be sold online this summer and in-store with select retail partners. Speaking on the project, Aminé shares: "The POINTFIVE projects are the breaks in between albums where I give myself the freedom to make music without expectations, focusing instead of spontaneity and the best of what comes from stream of conscious creation, which is why they arrive unexpectedly without a long rollout. It’s an opportunity to create for my day one fans the way I used to in my bedroom. Thanks for listening." TWOPOINTFIVE takes inspiration from various strains of club and dance music, synthesized in a way that feels distinct to Aminé and his brand of clever lyricism. TWOPOINTFIVE acts as the second act to his 2018 project ONEPOINTFIVE, which is also lead with an introduction from Rickey Thompson and arrived in between Aminé's debut album Good For You and sophomore album Limbo. ONEPOINTFIVE solidified Aminé's status as a hitmaker in the modern hip-hop landscape with tracks like "REEL IT IN" and "BLACKJACK." Listen to TWOPOINTFIVE above and stay tuned for more from Aminé coming soon. Full Press Report PDF - Artist Bio - PR Report

Diplomat and Beagle are old studio partners from the early 90’s and have recently started to record together again, fusing their musical talents to make some next level hardcore rave.

Their last release was all the way back in 1993 on the label Bogwoppa, an EP titled ‘Small Hours’ under their group name Narc. This EP went onto cult status due to its futuristic and unique take on the sub-genre, changing hands for vast amounts on Discogs.

Featured on this EP is a remix of ‘Equatorial Bass’, a track from the original 1993 EP revamped for 2022.

Hit the turbo!

Remotif is a fast-rising star with a sound being called 'trance fusion.' He makes his mark again to that end with a new one on Especial that brings more of his modern-day ethnic styles to the driving breaks of techno following outings on the likes of Coymix and Space Lab and sets everywhere from Fabric to Berlin's Warning parties.

This one kicks off with 'U 15' which is a busy blend of shimmery timbres and sharp perc, spaced-out pads and psychedelic synths that are ever on the rise. More trance overtones define 'Glint's Pursuit' and 'The Elevated Place' is slick and sleek, ascending and always rising. 'The Sunken Place' shuts down with more slow and percolating dub mutations to round out a superb EP.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

“There goes my TARDIS!” Demon Records celebrates David Tennant and Catherine Tate’s partnership as the Doctor and Donna with two audio-exclusive stories, read by the actors themselves. In Pest Control, read by David Tennant, the Doctor and Donna face monstrous insects and a ruthless robot exterminator when the TARDIS is lost in battle on a distant planet. The Doctor sets off in pursuit of his craft, while Donna finds herself accepting a commission in the Pioneer Corps. Something is transforming soldiers into monstrous beetles - and she could be the next victim. In The Forever Trap, read by Catherine Tate, the duo find themselves imprisoned in a complex of luxury apartments in space, and neighbours to a terrifying assortment of aliens. Deadly mobs wage battle in the corridors and on the stairwells, and the travellers must cross their paths as they search for the ultimate authority. Who, or what, lies at the heart of the Edifice? This stunning box set, with an illustrated lift-off lid, features 6 x 140g vinyl LPs - three in Transparent Red and three in Transparent Yellow - each housed in a unique inner sleeve. A four page booklet features sleeve notes by authors Peter Anghelides and Dan Abnett, who reflect on the process of writing for the Tenth Doctor and Donna, and how they regard the stories 17 years later. Now for the first time on vinyl, accompanied by original sound design and Murray Gold’s Series 4 arrangement of the familiar theme music, these two high-octane adventures are a reminder of the excitement, humour and magical wonder of Doctor Who

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a ballad side with a funk side on the flip, here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin” comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman.

It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip, you will find a nod to Ron’s former band, Power Of Attorney, and their breakout single “Changing Man” which inspired the uptempo groove and sweet flute part. Hinting at the classic Philly Soul style, there are lush strings and as a bonus, the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

Originally released in 1963 on Prestige, Kenny Burrell & John Coltrane features Burrell and Coltrane alongside Tommy Flanagan, Paul Chambers and Jimmy Cobb playing across 5 tracks. This new edition is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

blue•lips (bloo/lips) n. v. adj. pl. -lipped, syn.. -coonin, -cyanosis
-adj. 1. speecHless, especially as the temporary result of sHock or
some strong emotion. 2. (of a person or mood) sHocked, speecHless, orembarrassed; the crowd gave me blue lips

-n. 1. a particular attitude toward or way of regarding something 2. coon; tHey were coonin
-v. 1. become fully aware of (something) as a fact; understand clearly.

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Volume 3 of a set of collaborations between the prolific Argentine polymaths Reynols and the inescapable Acid Mothers Temple. Recorded in Buenos Aries on AMT’s 2017 South American Tour, the music has identifiable sonic elements from both groups but ends up sounding like neither, with a surprising weightlessness that keeps things jammy and psychedelic until the final track’s blustering rock. Taking up most of side 1, “Kicking Air Bricks” has a loose Gong/’70s Euro-classic vibe, with Satoshima Nani getting to swing on the drums in a way that isn’t always part of AMT’s steamroller, while the rest of the gang layers in abstract piano, percussion, glissando guitar, etc. “Multiverse Turtle Reflex” closes the side with a thick drone coda. Side two starts with Miguel Tomasin’s gentle vocal and organ accompaniment on “Smelling Oneiric Asado” before the group gradually gathers momentum with Wolf’s thick bass anchoring layers of clean and loose guitar interplay. “Lemurian Tsunami Inside A Hat” is a thriteen-minute heavy rock epic, with the Reynols’ guitars going head to head with Makota Kawabata’s easily recognized interjections, ramping up into a riffy crescendo.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

Duke Ellington teams up here with bassist Ray Brown in a set reminiscent of Duke's work with Jimmy Blanton three decades before. In addition to the four-part "Fragmented Suite for Piano and Bass," the duo plays five standards (including "Pitter Panther Patter" from the Blanton days and three other Ellington-associated tunes).

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on!

Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

Castle Face present Dan Rincon’s (OSEES, Wild Thing, Apache, Personal and the Pizzas) premier solo release Spotlight City.

Artificial landscapes and melodies comprised of Moog Grandmother, Mellotron and a kinky Modular system span from beautiful and lilting to haunting and etherial. The album was a years long learning experience of getting all components and ingredients to link arms and blend comfortably. Wrangling was part of the process. Strings soaring and sines weaving. Sometimes in the atmosphere, sometimes in the Earth’s core, sometimes flanked by neon blur as it hums & weave patterns through a world imagined in vintage sci-fi pulp.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist. The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

An absolute necessary slab for anyone a fan of CF, OSEES, Popol Vuh soundtracks , 8 bit video game accompaniment & 80s Tangerine Dream. Burn one and burn out.

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

To address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they're the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on `Beehive Mind' share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: "I need to play music and listen to music as a form of therapy," explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. `Beehive Mind' is their debut LP.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

10 year anniversary boxset edition of Cult of Luna's take on Fritz Lang's Metropolis film, the 2-parts concept album Vertikal, I and II Limited to 1,000 copies - 4 x LP Boxset - All colour vinyl copies - Vertikal I - A/B - clear w/ marbled black - Vertikal I - C/D - SideA/SideB Silver/White - Vertikal I - E/F (Demo Versions) - clear w/ marbled white - Vertikal II - A-Side / B-Side black/white - Thick printed paperbag LP

Blue vinyl. Since forming in Western New York in 2016, Feeley and his musical partner Matt Cox have blurred the line between absurdism and existentialism, swirling ‘90s melodicism, new-millennium pop-punk energy, and heartfelt emo into a wry, smirking rock sound. Now, on their third album, Gangster of Love, the duo let their melting pot sonic palette go further than ever, exploring the outer edges of their musical spectrums. Produced by Sam Guaiana (Neck Deep, Bayside), Gangster of Love follows

2021’s SUP and 2018’s Tequila Sunrise and found the duo fleeing Buffalo for Los Angeles, where the push and pull between the two songwriters – the real magic at the heart of Super American – was allowed to flourish and grow in a brand-new environment

New Jersey-born Ali Berger is a drum machine specialist and low-key US dance music standby, now based in Pittsburgh after spending the 2010s in Boston and Detroit. His catalog of original music runs deep, with over 60 releases on his Trackland label and EPs on imprints like Spectral Sound and Sequencias, all resulting from a lovingly-cultivated studio approach which respects improvisation as a spiritual practice.

Here with this sublime release on Scissors and Thread, Ali shares a multitude of sounds and atmospheres across the five tracks. As Ali himself puts it “This record collects tracks from the last three years, plus 0221 (Serious Mix) which is from 2018. There's a full cross-section of production techniques represented here, from one-take jams to multi-tracked compositions, but through it all there's a deep melancholy which (I hope) is tempered by enough groove to be uplifting. Maintaining emotional balance takes constant, caring attention; music is a part of that process for me and these tracks reflect that.”

This balancing of melancholic atmospheres and groove is evident throughout - Rhythm & Simplicity is a low key thoughtful banger for the more discerning dancefloors, while A New World To Forget also exhibits a deep love of cultured house music and analog drum machines. Tape Jam pt 2 is the perfect mix of improvisation and pure groove, put down in a rough and gritty fashion. 0221 (Serious Mix) merges a breakbeat with pads and synths that give off a balearic sunrise vibe, while Motion Anthem wraps up the EP with a tougher groove coupled with wistful melodies and oceans of feeling.

“Heart of the Dragon” is part of a series of dub albums by The Mighty Upsetter, showcasing Lee “Scratch” Perry’s groundbreaking sound explorations. Having previously delved into Western themes, Perry now turns his attention to martial arts films. With “Heart of the Dragon,” especially notable for its innovative use of sound effects, echoes, and studio manipulations, Perry demonstrates his ability to push the boundaries of music production. Long unavailable, here it is again in a limited-edition yellow vinyl release, featuring an entirely new cover design!

Caedite Eos is thrilled to present another intense various artist EP for its forthcoming vinyl release,showcasing a talented lineup of Spanish artists.Kicking offthis EP is Hurtado with his track "No Surrender". With previous releases on Overstep,Body Theory, and Shiv (a label he co-runs with UVB), Hurtado brings his signature style, deliveringa relentless onslaught of heavy offbeat techno.Following suit is Neurite, making his debut on this EP with "Black Eyes".

As co-owner of Madrid'sunderground techno party "Crudo", Neurite brings a fresh perspective with breakbeat techno,weaving tension-filled atmospheres and lively percussions into his captivating track.

Returning to the label is SlugoS with "Self-Inflicted". Fresh from his recent release on SacredCourt, SlugoS, the label owner, presents an elegant hard techno gem designed to ignitedancefloors with its infectious groove.

Rounding up this EP is TKNS with "Cacharreo y Dinamita". A familiar face on Caedite Eos, TKNS, known for his previous work on the label and a recent remix for EKKA, delivers a breakbeattechno journey that steadily builds to a climax after the main break, showcasing his talent andcreativity as a dancefloor killer.

This EP encapsulates the essence of Caedite Eos - a celebration of cutting-edge techno withdiverse influences and uncompromising energy, destined to leave a lasting impression on technomusic enthusiasts worldwide.

THIRD EAR BAND stammen aus Canterbury und begannen als psychedelische Band namens THE GIANT SUN TROLLEY, die in Südlondoner Clubs lange und improvisierte Sets spielte. Nach einem Auftritt wurde der Band fast die gesamte Ausrüstung gestohlen. So wurden sie aus purem Zufall und offensichtlicher Notwendigkeit eine Akustikband und nahmen den Namen THIRD EAR BAND an. Von 1969 bis 1972 veröffentlichte die Band drei Alben auf dem progressivem Harvest-Label, "Music From Macbeth" (1972) war davon das bekannteste und kommerziell erfolgreichste. Am 24. April 1970 traten die Third Ear Band beim 2. Essener Pop & Blues Festival. Aus welchen Gründen auch immer tauchten sie aber weder auf dem offiziellen Plakat zur Veranstaltung noch in den Programmheften zum Festival auf. Das Billing des Tages war mit Acts wie The Flock, Ekseption, Rhinocerous, The Groundhogs, It"s A Beautiful Day und den noch unbekannten Black Sabbath, die gerade ihr erstes Album veröffentlicht hatten, prall gefüllt. Das Essener Konzert in der Quartettbesetzung mit Sweeney am Schlagzeug, Minns an der Oboe, Coff an der Violine und Smith am Cello fand nur wenige Wochen vor der Veröffentlichung des zweiten Albums statt, das die Fans als "Elements" kennen, obwohl es schlicht "Third Ear Band" heißt und im Juni 1970 erschien. Von den vier Elementen spielte die Band an dem Abend "Earth" und "Water", aber in einer kürzeren Fassung im Vergleich zu den Albumversionen. Erst vor kurzem sind die professionellen Tonaufnahmen vom Festivalauftritt der Third Ear Band wieder aufgetaucht und jetzt restauriert, klanglich aufgearbeitet und gemastert worden.

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

Der Zauber der Nacht ist in der Musik seit jeher ein Thema, von den Nocturnes der Klassik über Late-NightJazz bis hin zu Max Richters Erfolgsprojekt “Sleep”. Auf ihrem neuen Album hat sich nun auch Sängerin und Songschreiberin Arooj Aftab, die für ihr Album “Vulture Prince” 2022 als erste pakistanischstämmige Künstlerin mit einem Grammy ausgezeichnet wurde, dieses faszinierenden Themas angenommen.

Arooj versteht es Songs zu schreiben und mit sanfter, tiefer Stimme zu singen, die sich entspannt in die Gehörgänge schmiegen. Ihre Lieder sind einzigartig, weil sie in der Tradition ihres pakistanischen Musikerbes wurzeln, aber zugleich elektronisch-modern und auf subtile Weise grooven.

Mit “Night Reign” ist Arooj ihr betörendstes und vielfältigstes Werk gelungen. Unterstützung erhielt sie dabei von so unterschiedlichen kreativen Partnern wie Vijay Iyer, Maeve Gilchrist, Moor Mother, Joel Ross, Cautious Clay, Kaki King, James Francies und Chocolate Genius, Inc

Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond’s predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic’s Paul Masvidal, the trio get somewhat psychedelic on the album’s eponymous closing - and most expansive - track, which also features Vola’s Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON’s anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T. Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio broadcasts... This 7” release is a remake of the African Blood classic A.I.E from 1975. It goes without saying that Monsieur Willy touched this one with respect, dignity and style but yet still pumped it up to the max. The afro beat driven Bonus Beat on the flip, again caters for the DJ to give them maximum freedom to express their skills and mixing creativity.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed
of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T.
Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them
together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio
broadcasts...
Much more than a musical style above all, they defend a state of mind:
celebration, diversity, inclusivity, good vibrations and the spirit of the party.
They have release compilations through Universal and Warner Music and have their own label Funky
French League records.

1974 soundtrack from Ennio Morricone Pressed on Red Vinyl & includes a 30x30cm insert Liner notes and audio remastered by Claudio Fuiano “Allonsanfàn” is a 1974 historical film written and directed by Paolo and Vittorio Taviani; set in 1816 in Italy during the Restoration period, its cast features, among others, Marcello Mastroianni, Lea Massari, Laura Betti and Mimsy Farmer.

“Allonsanfàn” is the first collaboration between the two directors and Morricone, who would also compose the music for the film “Il prato” (The Meadow, 1979). The soundtrack starts with a main marching theme, “Rabbia e tarantella”, introduced by the piano and reworked in a thrilling way by the full orchestra; Giuseppe Tornatore liked it so much that in 2009 he asked Morricone to write a similar musical theme for a sequence of the film “Baarìa”. This motif is alternated with the bucolic passages for flute and orchestra of “Ritorno a casa”, the festive “Dirindindin”, the classical piece “Te Deum Laudamus” for orchestra and choir and “Frammenti di sonata” for solo violin and small ensemble.

This score was only partially issued on vinyl in 1979, and subsequently only on CD; for the first time, then, it’s here released on clear red vinyl in an extended version, including a 30x30cm insert. Liner notes and audio remastered by Claudio Fuiano.

1966 soundtrack from Ennio Morricone Pressed on Transparent Green Vinyl & includes a 30x30cm insert First ever release of four tracks on vinyl! “Come imparai ad amare le donne” (How I learned to love women) is a 1966 romantic comedy directed by Luciano Salce; the cast includes internationally renowned actors such as Anita Ekberg, Michèle Mercier and Robert Hoffman, as well as a very young Romina Power who was only 14 years old at the time. The beginning of the artistic collaboration between Ennio Morricone and Salce dates back to 1961, with one of the Maestro’s very first soundtracks, “Il federale” (The Fascist); the partnership then continued with “La voglia matta” (Crazy Desire), “La cuccagna” (A Girl… and a Million), “Le monachine” (The Little Nuns), “Slalom”, “El Greco” and, finally, “Come imparai ad amare le donne”.

For this film, Ennio Morricone composed a soundtrack that is a true hymn to love, with an elegant and refined atmosphere led by the beat ballad “Pioggia sul tuo viso” performed by the English group The Sorrows, and by various romantic themes such as “La diva”, “La donna gattina” and “La donna romantica” that alternate with classical compositions such as “Alta moda” and “Alla corte di Luigi Xvi”. The love theme returns in a danceable version in the opening credits.

Originally released in 1966 and reissued in 1985, this soundtrack is finally reissued on clear green vinyl LP with a new artwork and a 30x30cm insert. In addition, four tracks are here released on vinyl for the first time. Liner notes and audio remastered by Claudio Fuiano.

When first released Astro-Sounds From Beyond The Year 2000 promised an uncharted trip beyond the now generation! And it certainly delivered, as soon as the needle drops onto the opening track ‘Flameout’
we are in astral freak-out territory with cosmic strings phased beats & displaced fuzz guitars... Despite being released as a budget label’s take on the burgeoning psychedelic scene Astro Sounds, delivers the real deal.
This is thanks in no small part to the central role played by Wrecking Crew guitarist Jerry Cole. Cole had previously been the involved some L.A. session colleagues and cut his own psychedelic
album: The Inner Sounds of the Id by 'The Id' and was the perfect choice to front Astro Sounds which can be considered a development from the seminal sounds of the Id.
Astro Sounds has suffered from some unofficial releases that offer poor audio quality. This Vinyl Exotica re-issue is remastered from the original tapes and is presented on coloured vinyl

Available on “Green Tea” colored vinyl, limited to 300. Remixed by Chris Teti & remastered by Kris Crummet for 10th Anniversary. Recommend If You Like: Prince Daddy & the Hyena, Into It. Over It., Blink-182. Maybe it always had to be this way. Posture & the Grizzly formed in Connecticut, in '08, and churned out a couple of demo tapes before dropping their debut LP in early 2014. Busch Hymns was scrappy and raw, all weed smoke and pent-up fury. Songs like "Egg Nog Drunk Off Hilary Duff's Piss" (yeah) and "You Know I Know What You Did Last Summer" exemplify the band's charm perfectly crystalline, wobbly leads ready to burst under bouncy hooks equal parts snarl and singalong. Just a glance at the tracklist lets you know what Posture & the Grizzly's all about: eight goofily titled songs in and out in eighteen minutes. Just in time for the LP's tenth anniversary, it's been given a remix by The World Is…'s Chris Teti, who originally produced and engineered the album back in 2013, along with remastering from Kris Crummett (Knuckle Puck, Dance Gavin Dance). Sometimes when an album like this is remastered, it loses some of its charm; the gloss crowds out the grit, the whole thing is recolored a bit too bright. But not so on Busch Hymns—these songs are crisper, but that doesn't mean they're cleaner. J. Nasty's throaty howls are as ragged as ever, but this time around they stand out against Piss Malone and Cabbage Pile's rhythm section, no longer straining for spotlight but basking in it. Their sound would get streamlined a bit over the course of their next two albums, I Am Satan and Posture & the Grizzly, replacing some of Busch Hymns's bite with a clearer-eyed sparkle and a newfound melodicism. Busch Hymns stands now as a document of the cult punks' early days, a transitional period from their throat-shredding demo days to their all-too-brief time as a pop-punk juggernaut. It's clearer than ever with the Busch Hymns remaster that Posture & the Grizzly was meant to sound like this, was meant for more than basement shows and beer-soaked floors. In this light, Busch Hymns is more than a transitional period; it's a glimpse into the greatness to come. So if you're sick of listening to modern punk too, then quit it. Listen to Busch Hymns instead

For fans of Lettuce, The Motet, and Tauk! A power funk septet, Waiting on Mongo is an immersive experience that can only be described as a soulful journey that pushes the limits in the 4th dimension of psychedelic grooves. With strutting guitar riffs, transcendent horns, and heady organ depth, the live performances take you on a cathartic journey where you shed the weight of the world with everyone in attendance. Traversing the inner workings of the human soul, everything seems to be in its right place when the Mongo party hits full throttle. Waiting on Mongo has relentlessly displayed a level of musicianship that continues to impress both music critics and fans alike, winning awards in their hometown of Asbury Park for consecutive years. With a permeating aura of soulful energy, that illuminates every venue, the band is on a collision course for new locations to spread the love that is their music. Now they are set to release their brand-new album From The Top featuring the first single “Take Our Time” and other stand out tracks like “Do What you Want” and “Sick of the Woods”.

Reissue of the 90’s Hidden Gem originally released on the infamous “Rugger Bugger” Records, featuring Frankie Stubbs of Leatherface. The album is a complete Discography, of all things Jesse on a double album, one unreleased song and everything remastered for its release. “Stubbs seems on the verge of breakdown into sorrowful melancholy on a number of tracks, only with an air of odd defiance, as if he's hurting but knows he'll weather it. He inspires hard empathy instead of irritation. You look forward to Stubbs' lyrics and he never fails, particularly as one experiences them with that gut-wrenching sincerity clutched within that sandpaper-voiced howl.” – Jack Rabbid Remastered – Nigel Walton – The Edit Suite & Graeme Philliskirk Artwork – Cactus Vella

Upchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here. After working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury. In Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set. The band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room. When Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”

Defenitly this is the D-Day for Oppression 002...

Considering the Weekend of War Insoumis sound System just lived...


We are not supposed to take care of the Water (Condamnation against Sainte-Soline activists)
Not supposed to take care of the nature (Condamnation against A69 demonstartion)
Not supposed to think that one more airport is not really that wicked... not supposed to think...

And... not even supposed to party.

Tyrants are rising...

May music help us to go through this....

Gabber old school, Tracker style... PURE BLOODY RECORD I SAY !

A reissue of the wonderful female vocal LP released by FEDERAL in 1977! Mellow reggae with covers of classics by Patti Austin, Albert Hammond, Bob Marley, and more. Marcia Griffiths participates on backing vocals.

Chrome is back again with his 5th full studio album. A new project under the guise of ChromePlus alongside Super JB, A Civilian and Tom Hanna. Chrome has amassed an incredible catalogue since 1990 as member of the mighty Def Tex and collaborating with IllInspired, Whirlwind D, DJar One, Specifik, Crease and DJ Nappa to name but a few.
This album has taken just over 3 years to complete and release but the wait is worth it. Featuring live instruments over sampled drums and turntables it has a vastly different DNA to most Hip Hop based albums, and with this the soundscape is able to stretch out in a way that would be almost impossible when staying in the realm of samples. But with the sampled drums keeping the dynamic energy of more usual Hip Hop production
Chrome’s previous single ‘Anything You Want’ achieved the prestige of ‘BBC Introducing’ single of the week which gives only a hint of the quality that can be expected here. Chrome is always trying something new and pushing his music into territory that many other artists do not attempt and with great results and with the stunning artwork it is the complete package for the decerning Hip Hop listener. There is something for each part of the Hip Hop spectrum here from Fast Rap, thoughtful and experimental guitar driven tracks, instrumentals and the almost forgotten DJ track with the tempo varying accordingly.

Kata No Wadachi is the latest album by Banetoriko, the solo noise project of Tamaki Ueda. Her first release both on An’archives and on vinyl, it follows several albums for the Neurec imprint – 2017’s Beside the Sluice and 2022’s Yorioto Hogiokuri – and several other cassettes and CD-Rs. With Kata No Wadachi, the Banetoriko world, inspired by the Yokai (“strange apparitions” – supernatural figures, ghosts, spirits) of Japanese folklore, is at its most resonant yet.

Recorded across 2022 and 2023, the three tracks on Kata No Wadachi have Ueda performing in a particularly elevated manner. Her sound is highly tactile and grittily sensuous, the better to capture the ritualistic repetitions, and hypnotic methodologies, core to Banetoriko. The scrape and scratch of Ueda’s self-made metal instrument, the Banetek, gives these improvisations a unique throb, even as their mood, of introverted focus and elaboration of minutiae, gestures towards broader histories of noise and abstract art. Kata No Wadachi evokes, to some degree, the urban ritual noise of the likes of The New Blockaders, Organum, or Ferial Confine; elsewhere, the abraded, rough-housing textures bring to mind the eighties tape works of Hands To and John Hudak.

Ueda embraces the dream evocation that’s possible when loops of blurred texture collide with the gnaw and groan of energised metal, while mantric, dissociated vocals, and the oppressive weight of deep breath, gather around these compositions like a ghost’s shroud. While she’s been making noise for some time, since the nineties, Banetoriko was formalised as a project in 2011, while Ueda lived in Los Angeles. Relocating to Osaka in 2021, she’s carved out an utterly unique space for herself in Japanese noise, and her music contains an absolutely elemental vibration. Framed beautifully with poetic liner notes by Aurélien Rossanino, Kata No Wadachi is an oppressive, yet quixotically blissful trip.

This album compiles a series of sound pieces produced by the Peruvian artist Teresa Burga (Iquitos, 1933 - Lima, 2021) during the 1970s. It includes works that were part of various artistic projects, mainly sound installations, as well as pieces commissioned to musicians and inspired by her work. This album thus embodies an approach to a sound universe that has accompanied Burga's very personal work, which has transcended the limits of the artistic medium and disciplines. In the last decade, Teresa Burga's work has been present in numerous retrospectives and anthologies, as well as in various critical studies, which has cemented her standing in the art world, both in her home country and internationally. Indeed, she has come to be seen as one of the key figures of Peruvian conceptual and pop art of the 1960s and 1970s. This album includes the sound pieces Estructura Informe Corazón Structure Informe Corazón (1972) and 4 mensajes [4 Messages (1974)], composed of heart sounds and distorted television signals. It also includes the interpretation of the conceptual score Esctructura Propuesta Sonido [Structure Proposal Sound I (1978)], based on the poem "Cruz y Ficción" by Blanca Varela, in versions by the Peruvian Nicolás Wangeman, and by the Argentineans Alma Laprida and Alan Courtis. Also included is the piece Borges (2017), a commission by Burga to the Peruvian composer Jan Diego Malachowski, for the installation of the same name, here presented in a synthesizer version by Laprida and Courtis. Estructura Propuesta Sonido, by Teresa Burga is presented in vinyl format, in a limited edition of 300 copies. The publication includes a booklet with extensive notes by curator and researcher Luis Alvarado, as well as extensive visual documentation. Includes the participation of musicians Nicolás Wangeman, Lama Laprida and Alan Courtis (Reynols).

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

Eszaid imagines the sonic paranoia of discovery with Brumes, a 9 part movement for FELT that coalesces industrialised murmurs from the currents of cavernous creep.

An electronic complexion shaded dusk haunts Eszaid’s output. Previous releases on L.I.E.S., Worship and his own Collapsing Market label exemplified a shutters-closed style of rhythmic and melodic variance that teetered on techno-related realities with the lights kept firmly off. The Avignon-based artist lands at Fergus Jones's FELT stable to further the imprint’s unpredictability, coaxing some of his most perturbed oddities yet with Brumes.

The mythologized voyage of Pytheas to the island of Thule provides the abstracted blueprint for Brumes’ 9 parts. Each movement is born of soundscapes inspired by envisaged scenes of his trip to the North, an aural construction of interpretation. Eszaid unwinds tense metronomic rhythms within sparse sound environments, sprung with globular textures of motorik warbles and darkside atmospherics. Its minimalist beat complexions are buoyant by an abstracted fear of the unknown, tracks defined by bobbling industriale, Gregorian dub and atonal menace. It’s an alternative experience to the often faux-jubilance of expeditious revelation, and something that will resonate long after Nord’s beatless modulation fade out.

The MOD scene evolved on the cusp of the sixties as Britain was emerging from the postwar blues.

Audiophile 180g Doppelvinyl-Erstveröffentlichung des fünften Studioalbums "Dumbing Up" (2000) der britischen Rockband World Party. Insgesamt 18 Songs, darunter die zwölf Songs der 2000er Original-CD, die zwei neuen Austauschsongs der 2006er CD-Reissue ("'Til I Got You", "I Thought You Were A Spy") sowie vier rare Boni, die nur auf der 5CD-Anthologie "Arkeology" (2012) vertreten waren und nun erstmals auf Vinyl erscheinen ("Words", "Nothing Lasts Forever", "Photograph", "I Want To Be Free").

rush2theUnknown is a project born in pandemic-era provincial New Zealand, developed in the hills of Izu Peninsula, Japan, but forged in the fire of potent teenage memories — the flames of the future sounds of jungle and drum 'n' bass that exploded onto dance floors across the urban centres of New Zealand in the mid 90's. Two old friends, both who played pivotal roles in the development of New Zealand's own jungle and drum 'n' bass scenes in the 1990s, estranged for decades, reunited amidst the isolation and chaos of covid. They began an experiment, attempting to recapture the feeling of having their heads overwhelmed by sounds they couldn't quite comprehend as adolescents — in particular, channeling the energy, spirit, and vibe of 1995 to 1997, where the ever-mutating evolution of jungle intersected with the dawning of drum 'n' bass to create a utopian future vision, before the latter genre changed course and moved increasingly darker.

By weaving in the influences that these two long-lost friends had accumulated over the decades, most notably from ambient, kankyõ ongaku, new age, minimalism, and some of the deepest research into the history of Japanese video game music ever conducted, the pair attempt to discover new terrain from an specific era of dance music that was never fully explored.

Czechoslovakian big band legend Gustav Brom has graced dancefloors with his music for a long time, you've probably heard his work and not realised it. PANORAMA returns with "Calling Up The Rain", from his 1976 album "Gustav Brom plays for you Pop Jazz and Swing" Gustav infused big band jazz and a latin groove into this dancefloor weapon, Organ solos, Trumpet solos and a screeching guitar solo. What's not to love?

Presented as a reissue by the newly launched London-based record label, PANORAMA Records, "Calling Up The Rain" reaffirms the label's discerning direction and "Don't Judge A Record By It's Cover" attitude. Championed by Gilles Peterson, Patrick Forge and a few other legends in the game, PANORAMA Records aims to reintroduce this big band hit to new audiences, establishing itself as a tastemaker in the business of reissuing global grooves. It comes with a sticker on the front with quotes from tastemakers Patrick Forge, Rainer Trueby and Zag Erlat (My Analog Journal).

With this release, record collectors can anticipate a discovery of Gustav's anthem, for the first time on a 45 and a first time official reissue, a full blown party starter, as Panorama Records presents "Calling Up The Rain" as a timeless reissue. The label shook mountains with it's first release of Gitte and Inger, with huge DJ support from Gilles Peterson, Ross Allen and other great tastemakers. PAN002 is here, Buy or cry!

DJ Support: Gilles Peterson, Sean Johnston, Jaye Ward, Max Essa and Francois K

Limited to 300 copies

Having been long-time admirers of one another from afar, Hell Yeah and Michele Mininni finally come together for Pop Archetypes. It is a multifaceted debut album that collides broken beats, worldly rhythms, jazz, eastern melodies, live drums and much more into one thrilling 15-track opus that arrives on May 31st.

Italian artist Mininni has always had a leftfield take on electronic music and imbued it with rhythms, melodies and instruments from around the globe. He has released it on cult labels like R&S, Optimo Trax, Internasjonal and Curle Recordings but has saved his magnificent debut album for Hell Yeah. It is much more than a collection of sounds he has already explored and instead finds him heading off into all new territory without losing his signature sense of inventive and beguiling rhythm and melody. It is a multicultural journey that takes in heterogeneous styles and diverse influences but distills them all into one cohesive album with its own unique storyline.

Says Mininni of the record, 'I wanted each track to be like pieces of a unique, multifaceted picture, like walking through train cars or progressing through the levels of a video game, all filtered through my own vision and concentrated into 36 minutes. I wanted a pop album rooted in the extraordinary richness of popular music and projected into the future, a continuum where pieces communicate with each other and are received by the ears in symbiotic balance.'

Despite that concept, the album is a spontaneous listen full of surprises, left turns and original ideas that all hold together in thrilling fashion. It kicks off with the tumbling jazz drums and swirling synths of 'Spinning Around Cotton Candy', takes in mellifluous melodic layers and broken beats on 'Golden Room' and 'Slipped Air' casts you adrift amongst gorgeous piano keys and refracted vocals on the suspensory 'Vertigo'. There are jungle interludes with Eastern string melodies like 'Bangkok Tempo', lavish fusions of organic and synthetic sounds on 'Kundalini' and more charming Far Eastern rhythms on 'Muting Cat'. 'Congoflash' brings electrifying cosmic rays to busy hand drum patterns, 'The Magic Of Synesthesia' combines dark amen breaks and bright and uplifting flutes while 'Carousel Of Tears' douses you in watery melodies and celestial pads that awaken the soul.

Pop Archetypes is an adventurous work packed with meticulous and infinite details but all with an overarching narrative that makes it far more than the sum of its parts.

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak

The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

Repress!

We"re back with another instalment of badass Funk from the Disco era with Supafunkanova Volume 3 which has been selected by prolific DJ, producer, remixer and record collector Woody Bianchi. Woody digs deep into his collection, compiling a high-quality album filled with lesser-known disco, funk and boogie. As the title suggests, Supafunkanova focuses on the funkier end of the 70"s & 80"s, showcasing some of the bumpier grooves recorded in the disco era when even James Brown had to take notice of the Saturday Night Fever inspired disco explosion. It will come as no surprise to hear some particularly hard to find gems have been unearthed here, and ones that aren"t just rare and expensive (if you can even find a copy!) but genuinely merit being re-issued. With expansive sleeve notes by Woody himself to give you an in depth insight to the music, artists and personal discovery of each record.

Metropolis; a powerful song addressing city inequalities and their impact on youth. It's a call for freedom, criticizing large corporations. The lyrics remind us of our basic human needs, while the smooth music eases the despair about environmental issues. Despite being recorded over forty years ago, the message feels relevant today, as we continue to struggle with harmful capitalism.

Originally part of a 1975 charity compilation LP raising money for environmental charities in California, which later became a collectors artifact changing has for silly money (which didn’t fit well with the Déjà vu kid team), so this Balearic nugget, the crown jewel of this album, was released on 7”…There is no better way to share it again than on it’s own 45 inch release at a fair price.

Moonboots, Danny Psychemagik, Spruzzi Monorecords, Micky Browne, Paul Hillery are just a selection of names who have championed this track from this great album and now we can reshare it with you in this first time format.

Artwork redesigned by GNB Studios.

Tauchen Sie ein in den dunklen und genreübergreifenden Sound von Totengott in „Beyond the Veil“. Totengott taucht mitten in der derzeit vorhersehbaren und monochromen Metal-Szene auf und besteht aus drei erfahrenen Musikern aus Metal-, Rock- und Hardcore-Bands aus Asturien (Spanien). Das Ziel besteht darin, die düstersten Songs zu veröffentlichen, die sie schreiben können, und die Wichtigkeit des Bösen und Morbidität von Kompositionen über Technik und Rohheit über Demonstration zu betonen. Da es sich bei Totengott um
eine schwierig einzuordnende Band handelt, kann man sie als Occult-Metal-Trio mit Doom/Death-Metal-Einflüssen vorstellen, ohne dabei andere Genres wie Thrash, Gothic oder Ambient außer Acht zu lassen. Aus musikalischer und philosophischer Sicht schöpft die Band aus Quellen wie der härtesten Seite von Celtic Frost, der rohen und epischen Seite von Bathory, der Atonalität von Kryzstof Penderecki, der klanglichen Ernsthaftigkeit von Conan und den Texturexperimenten des frühen Pink Floyd. Totengott vermeidet Einschränkungen in der Art und Weise, wie sie Musik verstehen.

Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

"Recorded and produced by friend and frequent collaborator Mo Troper, Who’s A Good Boy is equal parts scrappy and starry-eyed in its sonic makeup. Album opener “The Flake” sets the stage with fuzzy guitars crashing in and Ramirez’s relaxed vocals placed front and center, as a result, the track feels like throwing on a warm blanket. And look no further than the album’s charming lead single “We Both Won,” a jangly earworm with the hypnotic refrain of “Don’t worry about me” lingering long after the track ends, serving as further proof that Bory has found the recipe for the perfect pop song and knows how to deliver it in two minutes flat. At every twist and turn of Who’s A Good Boy there’s something new to be discovered, making it one of the most exciting debuts you're likely to hear in a long time.

"Warm but guarded, intricate and muted, reminiscent of the Shins and David Bazan and especially Elliott Smith." -Pitchfork
"Whether it's the pastoral "Feel The Burn" or the splendid, reverb-drenched "Five-Course Meal", Who's A Good Boy debut full-length project shows some major potential for Bory to earn the title of Next Big Thing in the genre." - UPROXX

»All The Cowboys« war das zweite Soloalbum von Pete Townshend und wurde 1982 veröffentlicht. Es wurde von Chris Thomas in verschiedenen Aufnahmestudios in London produziert. »All the Best Cowboys Have Chinese Eyes« enthält Kompositionen, die aus späteren Alben von The Who gerettet wurden, und wurde knapp drei Monate vor ihrem Album »It's Hard« veröffentlicht. Das Album wurde gut aufgenommen und erreichte auf beiden Seiten des Atlantiks die Top 50 der Charts. Diese schwarze Vinyl-Version wurde von Miles Showell in den Abbey Road Studios mit einer Half-Speed-Mastering-Technik bearbeitet, die einen hervorragenden Vinylschnitt ergibt.

Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks. “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie In collaboration with Rob Zombie, Waxwork Records is thrilled to release Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack by Von Dexter. Starring Vincent Price, HOUSE ON HAUNTED HILL is a 1959 American Horror film produced and directed by William Castle. Vincent Price plays an eccentric millionaire, Frederick Loren, who, along with his wife Annabelle, has invited five people to a house for a ""haunted house"" party. Whoever stays in the house for one night will earn $10,000. As the night progresses, the guests are trapped within the house with an assortment of terrors. The film uses many props used in carnival haunted houses to generate fear and terror. The film is also known for its promotional gimmick, Emergo, which included a ""flying skeleton"" that would appear over the audience as they enjoyed the film in a movie theater. Waxwork worked with the rights holders of the original film elements which have been restored, allowing for the best source material of this never-before-released soundtrack album. In addition to the original music by composer Von Dexter, this release features segments of the film's dialogue and sound effects appealingly included and sourced from the restored original soundtrack. Included in this very special release is the first part of an exclusive two-part interview conducted by Rob Zombie with Vincent Price's daughter, Victoria Price. Part two will be included with Waxwork's upcoming release of Rob Zombie Presents The Last Man On Earth! Von Dexter (1912-1996) was an American composer born in Aurora, Illinois. He later moved to Chicago where his professional music career began playing in bars and nightclubs. After gaining a music degree at USC, he moved to California where he became the West Coast MD for NBC. In addition to House On Haunted Hill, Dexter composed the scores for other William Castle films including 13 Ghosts and The Tingler."

2024 Repress

“A place between the two of us, the people who are listening, the people who contributed, and the people who inspired us...”

Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.

Okvsho's second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.

“A place between us is the first step into a new era for us – We’re very grateful for the

love and support we received during the past six years and we’ll continue to strive for

the better. Thanks for becoming part of our journey.”

Original print from 2002

2024 Repress!

Limited 10 year anniversary repress. In May 2014, Icelandic producer Yagya released his fifth album, Sleepygirls, across three slabs of vinyl on Dutch label Delsin. It's a deep, spacious and dubbed out affair that stays locked at a pleasingly sedentary tempo throughout. Since 2002 the definitive member of the Thule Musik collective has been crafting lush electronic albums under his Yagya alias and always manages to find pure bliss and beauty and his simple, nature inspired soundscapes. "I wanted to create an album that's atmospheric, repetitive, and easy to listen to over and over again," says the man himself. "Something that works well in the background (e.g. when concentrating on work), as well as up close in a big sound system. I also wanted to learn how to make my music sound better than before, since I'm a huge sound-nerd, so that was a part of the goal for me personally." The album is a fine fusion of tropes from Yagya's earlier albums, features jazz instrumentalists that improvise beautiful melodies over monotonic, almost drone-like, techno beats and also uses live recordings of Japanese vocals, saxophone and guitar to counter the repetitiveness of the rhythms. Right from the rolling bliss of the opener, you're suspended in a womb like pillow of sound that is soft, warm and serenely beautiful. As tracks roll on, the pace stays the same but themes vary from upright and summery to more elongated and insular. This is natural, organic dub that is a delight and a pleasure to listen to. The vinyl versions of each track have been specially mixed with random LFOs, sonic quirks and unique fingerprints making them the subtly different to the CD version, but overall this is a brain soothing and mind melting album that can soundtrack lazy days, long summer afternoons and warm winter evenings in equal style.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

"I was in a dream, but now I can see that change is the only law." With a credo adapted from science fiction author Octavia E. Butler, an album title from a collection of metaphysical poetry, and an expansion in consciousness brought on by personal crisis, guitarist and songwriter Shana Cleveland learns to embrace a changing world with unconditional love on News of the Universe, the new full-length from California rock band La Luz. News of the Universe is a record born of calamity, a work of dark, beautiful psychedelia reflecting Cleveland's experience of having her world blown apart by a breast cancer diagnosis just two years after the birth of her son. It's also a portrait of a band in flux, marking the first appearance for drummer Audrey Johnson and the final ones from longtime members bassist Lena Simon and keyboardist Alice Sandahl, whose contributions add a bittersweet edge to a record that is both elegy for an old world and cosmic road map to a strange new one. But is there any band in the world more suited to capturing the chaos of change in all its messy beauty than La Luz? Formed by Cleveland in 2012, La Luz is beloved for their ability to balance bedlam and bliss, each new record another fine-tuning of the band's mix of swaggering riffs with angelic vocals borrowed from doo-wop and folk; a band so reliably great that it makes the huge step forward in confidence and sheer musicality that is News of the Universe all the more formidable. Cleveland, also a writer and painter, has developed into a truly original songwriter with her own canon of haunted psychedelia. Yet if Cleveland has spent years writing songs about ghosts, what lurks in the shadows of News of the Universe is nothing less than death itself. "There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth," says Cleveland. The powerful sense of openness that permeates News of the Universe is at least partially due to the fact that it is a record made entirely by women-from the performing, writing, and producing all the way through to the recording, engineering, and mastering. Working with producer Maryam Qudos (Spacemoth), the all-female environment allowed Cleveland to feel safe tapping into difficult places and expressing hard emotions women are socialized to suppress. Unashamedly vulnerable, unabashedly feminine, and undeniably triumphant, News of the Universe is another knockout record from a band so reliably great that it has perhaps led people to overlook how pioneering La Luz really are: women of color in indie music forging their own path by following their own artistic star into galaxies beyond current musical trends, always led by an earnest belief in the cosmic power of love and a great riff. Never is that more true than on News of the Universe, which might be La Luz's most brutal record to date but also their most blissful.

Not God is the new album from Chicago's beloved two-headed monster, Finom (fka Ohmme). You can ask them to go into more detail about the boring reasons why they changed their name, but for now, the answer is going to be polite refusal. No. Co-fronted by Sima Cunningham and Macie Stewart, Finom's influences run vast and varied, and they put a premium on change. Produced by Jeff Tweedy in the Wilco Loft, Not God is a marvel of growth, a progression from the roots of this collaborative band whose history can be traced back to its improvised conception. This is owed in no small part to their hometown of Chicago, the life raft to so many persisters in musical adventurosity. That energy combined with Finom's dramatic vocal and musical gifts puts them in the peripheries of the legacies cemented by The Roches, Roxy Music, the B52s, Kate Bush, Cate Le Bon, and Wilco. Cunningham and Stewart are brilliant harmonizers, but harmony doesn't equate to a utopia. In Finom's maws harmony can also be a fight, holding the line until the volcano erupts. This realistic depiction of a creative relationship jolts throughout the songs of Not God, and brings the whole damn thing to life. Finom are more than one person with more than one dream. But still, they grow together, harnessed by their shared love of pop songwriting, control, chaos, and being generally freaky-deaky. Freaky in that way that is only really fun when you're doing it with a friend. As the globe spins and advancements advance, it can feel essential to return to relationships that make us feel whole, that generate energy of strength and relief. Which puts double the weight on the reality that Sima and Macie continue to pledge allegiance to each other, at the base of the volcano, in the front seat of the car as it pulls off the highway.

Vier Jahre ist es her, dass die amerikanische Thrash-Metal-Band EvilDead ihr Comeback-Album ‚United States Of Anarchy‘ veröffentlicht hat und damit Fans wie Medien gleichermaßen begeisterte. Vier Jahre, in denen sich die Welt stärker denn je verändert hat, während EvilDead – wie ein Fels in der Brandung – an ihren charakteristischen Stärken festgehalten und ihren dynamischen Stil zwar kontrolliert, aber gezielt weiterentwickelt haben. Das Ergebnis nennt sich ‚Toxic Grace‘ und wird am 24. Mai 2024 über Steamhammer/SPV als CD, LP und digitaler Download veröffentlicht. Um die Zeit bis zum Album-Release für die Fans erträglicher zu gestalten, werden bereits vorab mit ‚Raising Fresh Hell‘ und "Subjugated Souls" zwei Singles inklusive Videos ausgekoppelt. Es sind die schwermetallischen Statements einer Band, die über große Erfahrungen verfügt und zugleich den Enthusiasmus und die Energie ihrer Anfangsjahre nie eingebüßt hat. Sänger Phil Flores beschreibt ‚Toxic Grace‘ als ein „Album mit einer Vielzahl verschiedener Stile und Sounds, von Doom bis Melodic Metal, von traditionellem Heavy Metal bis zu unserem signifikanten Old-School-Thrash-Stil.“ Gitarrist Juan Garcia fügt hinzu: „Wir haben uns bewusst auf die Tempi und den durchgängigen Fluss aller Parts und Riffs konzentriert. Wir wollten,
dass die neuen Songs kraftvoll sind, und schnell nicht nur der Schnelligkeit wegen. Ich bin sehr stolz auf das neue Material.“

The album will be released through Neurot Recordings in collaboration with Supernatural Cat, the record label of the rock ‘n’ roll graphic design collective Malleus, of which Poia and Urlo are part of.

Ufomammut formed in the late 90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), (rising from the ashes of past band Judy Corda), together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP.

Over the course of 25 years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of psychedelic tradition in music.This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners.

The band has produced 10 records along with various other releases, such as compilations, EPs, and live albums.

Now, in 2024, as they celebrate their quarter-century milestone, the band is set to release their latest album, HIDDEN. This album marks a shift in the band’s musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer.

The title, HIDDEN, reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With HIDDEN, Ufomammut delves into a sonic journey that traverses vast expanses of space and time.

From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, HIDDEN testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

The album was recorded at Flat Scenario Studio in Piemonte, Italy, with Lorenzo Stecconi handling the mixing and mastering, and Luca Grossi overseeing vocal tracking.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Info: On her debut album Suave Bruta, across eleven tracks blending traditional Afro Colombian rhythms with electronic experimentation, Ëda Diaz manages to reconcile different parts of her identity, two rich and complementary aspects that she has long viewed as opposites. Wonky Colombian salsa, electrified currulao and an eccentric Colombian-made dembow all sparkle with real-world samples from the buzz of a hairdressing salon to birdsong, and samples cut from classic Latin American tunes, all underpinned by the production of Anthony Winzenrieth evoking Björk, James Blake or Juana Molina.

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Roland Leesker has kept the legendary Get Physical label right at the forefront of the scene in his years at the helm. His music has been a small but vital part of that: he doesn't release often, but when he does it is timeless house music that always makes its mark. As well as a steady stream of singles, he also curated and mixed the crucial 20 x Get Physical compilation back in 2022. He has collaborated with greats of the scene like DJ Pierre, Roland Clark and Terrence Parker and will soon serve up his latest sonic statement with new full-length 'Searching For Peace' which will arrive in August following two more singles after this one.

The brilliant 'Respect' is a spritely and serene deep techno journey. The shimmering chords echo early Detroit techno and the supple drums are packed with warmth and bounce. Together they make for a cut that subtly uplifts as it unfolds in an engaging fashion over seven fantastic minutes.

Remixer Robert Hood is one of the foundational figures of techno. The Motor City innovator works under his own name and as Floorplan and has mastered the art of seductive loops, whether making stripped-back minimal or gospel-laced house. Here, he flips 'Respect' into a thumping and emotionally intense cut with faster drums than the original but just as much machine soul and a little extra texture in the percussion.

Set sail with the third installment of Numero's ode to regional radio surveys. Broadcasting 44 minutes of uninterrupted yacht, easy-glide, AOR, and blue-eyed disco that'll rock your boat. These 13 selections are anchored in the deep blue waters of the American private press_a life preserver for any BBQ, birthday party, or bris. Let W3NG be the sonic wind at your back.

Die zweifach Grammy-nominierte Band Rival Sons veröffentlicht eine remasterte Version ihres 2012er Albums Head Down auf ihrem eigenen Label Sacred Tongue Records.

Das von der Kritik hochgelobte dritte Album der Band wurde von vielen als Meilenstein gefeiert und erhielt Auszeichnungen aus aller Welt. Head Down enthält die Hit-Single und den Fan-Favoriten Keep On Swinging sowie die poppigen Retro-Tanznummern Until The Sun Comes und Wild Animal. Head Down ist ein Album, das die Vielseitigkeit von Rival Sons unter Beweis stellt. Es enthält auch die klassische Ballade über Tod und Verlust (Jordan) und Manifest Destiny Parts 1 & 2, ein epischer, wuchtiger Room Shaker über Verrat und Rache der amerikanischen Ureinwohner.

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.