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Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them up to share with those who love to share.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

A vivid portrayal of Zaltsman’s direction, My Luv delivers 4 hard hitting club tracks, with rhythmic percussion and heavy basslines throughout. ‘The hook’ remaining a staple of this release, the tracks are all equally useful in peak time club scenarios as they are for after-hours listening.

The stripped back, bouncy ‘Moving’ features the vocals of London based poet and musician, James Massiah. An eerie synth runs throughout, complimentary to the vocals and choppy drums. The lead track, 'My Luv', is an out and out club-weapon. Chopped up vocals and a deep dark sub bass. This has seen a Summer of being deployed by some of the best DJs in the scene, taking advantage of its ‘obnoxiously long’ breakdown, before descending into chaos.

Complimenting these two tracks, 'Page 365' is a more sensitive body of music, engaging listeners with a strong bassline hook, before progressing into a more heavy hitting club track, with a large focus on groove, taking influence from the UK Funky scene. Finally, the most club-driven track from the record. 'Flatspot' is dominated by its forceful bassline and rolling percussion. This is out and out designed for peak-hour fun.


Early DJ Support:
Moxie, Saoirse, Louise Chen, Leon Vynehall, Ben UFO, Parris, Moopie, D.Tiffany, re:ni, Amaliah, Stenny

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
credits

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

Vecchio's Afro-Rock is one big horn-heavy, bass-blasting, Latin groove funk-rock party. Only now, you're all invited because this, ladies and gentleman, is officially...a grail no more. With copies currently starting at 400 Euros for an original, this beautifully presented reissue, part of Be With's fresh campaign with Music De Wolfe, is well overdue. A magnificent and somewhat obscure library set that's just a total, cohesive joy from start to finish, this here is the soundtrack to all your smokin' summer BBQs and communal cookouts.

Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio. Recorded for the sound library label De Wolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. It features fiery brass charts, funky bass lines, fluttering flute, choppy organ and additional hand tribal percussion. The band let loose too and jam hard; yet there's a certain thread of solidity that runs throughout, the tracks just belong together, not disparate sound and rhythm experiments like some library records; this is just straight up, no messin', consistent funk-rock FIRE! Hips will sway, heads will nod to the steady vibes. It's insanely good.

The humid, building funk of the appropriately titled "Megaton" is a dramatic explosion of swirling, dazzling organ lines, ferocious beats and heavy horns throughout. It just don't stop. The tempo slows slightly for the deep and deeply addictive "Renegade". It's all heavy jazz horn refrains, always triumphant, coupled with devastating percussive breakdowns and killer guitar riffing. It's an insistent organ-led juggernaut. The frenetic "Facade", up next, is no less driving, horns high up in the mix over rattling percussion and brilliant organs lines. Just sensational. The bright "Chabati" is another glorious extension of the optimistic Vecchio sound, the organs wilder than ever before. The moody "Green Hell" is a real highlight and closes out the A-Side with some outrageously funky refrains - be it horns, organ or guitars - and is complimented by gorgeous flute work that galvanises the piece, elevating it to downright heavenly status.

Knowing full well that he's on to a surefire thing, Vecchio opens the flipside in much the same vein. Indeed, "Boss" is yet another uptempo highlight, a sensual orgy of proud horns, hand percussion and melodic flute playing over driving organ and guitars. It's followed by "Nsambei", which is rightly adored for its briefly open drum break, fantastically propulsive percussion breakdowns throughout and the jazzy, loose organ and guitar shreds. The bright "Waboco" ups the tempo and the pressure, hanging on one hell of a guitar hook and infectious horn refrain. Perhaps foreseeing how this album would come to be viewed, the aptly-titled "Cult" is possibly the finest song on the record. Which is saying something, because this record is insanely good. Riding a steady, confident organ groove straight out the gate, the kinda melancholic flute line over the top serves as a beautiful counterpoint which the horns often come in and imitate/riff off. Goddamn this is so so good, it needs to be played everywhere. The overwhelmingly mighty 7-minute jam "Ngoma-ku" rounds out this quite staggering record brilliantly in its heavy, mid-tempo blues with countless extended solos.

The audio for Afro Rock has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Llevamos mucho tiempo trabajando en este proyecto familia, y desde lo más profundo de la estepa manchega… tenemos el orgullo de presentar nuestra primera referencia en formato vinilo, un 12” que se introduce en el amplio espectro del amen breaks , jungle y esos sonidos rotos que tanto nos caracterizan, para ello quisimos contar con artistas que nos han apoyado siempre en el camino.

BELLOTA DUBS serán los encargados de ofreceros un breackcore mas que significativo , serio, elegante y contundente, como ya bien nos tienen acostumbrados.

BOOMBASS BROTHERS no podía faltar nuestros hermanos de alegrias y fatigas que tanto camino hemos recorrido juntos.

Los cordobeses se han encargado frecuencias más undergrounds fundiéndose con un amen breaks que tiene su esencia más que reconocible.

SILLY TANG y su amor por la cumbia, va a caracterizar mucho este track no dejará a nadie indiferente, para ello nos ofrece un tema de los que dejan huella allá donde vayas.

PABLO DREAD consideramos que las producciones de Pablo son “brutales”

En esta ocasión nos deja un track, que nos remonta años atras, en esas raves noventeras con teclados, y con esa finura y elegancia que tanto le caracteriza.

En definitiva un vinilo que engloba uno de los estilos que nos mueve, nos aporta,y nos da una gran amplitud donde todos nos vamos a sentir mas que a gusto, con los distintos enfoques que nos ofrecen estos pedazo de artistas, que han cumplido nuestras expectativas de largo y con en el cual nos sentimos realmente orgullosos de presentar este primer EP.

Increíble currazo que se ha pegado nuestro hermanito @adrian__bd millones de gracias Adri más contentos no podemos estar.

Esperamos que sea de vuestro agrado aunque solo sea una minima parte de lo que de verdad a sido este proyecto para nosotros.

Muy pronto en vuestra tienda de vinilos de confianza.

T4T LUV NRG presents “Name It”, the latest album by Oakland’s Bored Lord, aka DJ Daria. The internationally beloved producer and DJ has created a truly stunning album of impeccably produced and mixed work, each song an enticing chapter in a complexly woven story about love. This album of uninhibited, hook-laden tracks conveys a narrative of love that is not only romantic and personal, but also communal and familial— a love that refuses to limit itself to just two people, but instead spills forth into the world, embracing everyone open to its power. With her emotive, tenacious album, Bored Lord reminds us that to truly allow yourself to be enveloped in desire, you have to endure the pain that comes alongside it. You have to adapt and stretch yourself in order to experience the immense growth love has to offer. You have to believe there's more to this world than suffering and isolation. You have to look within and accept whatever you find, even if it is ugly or difficult. Love is the peace you find amidst the chaos of living, and it doesn't just fall into your lap. You have to want it. You have to be ready for it. And if you are ready, you have to name it.

As a producer known in no small part for her edits, Bored Lord presents “Name It” as a work undeniable in its artistry, completely authentic in its messaging, and absent of the industrial notion of production. The songs on “Name It” have instant hooks and each is deeply inspired by the genres Bored Lord loves—broken beat, drum n’ bass, jungle, UK bass, Florida breaks and house among them—but rather than simply reproducing, these tracks expand each genre beautifully. Daria’s technique is decidedly hardcore, with samplers, romplers and a bone dry aesthetic, each song and sound all her own. In the artist's own words “I want the industry people to be confused while the ravers understand the very moment they press play. I want to challenge everyone to name it.” And we expect that indeed they will, play after play after play. Now, close your eyes and believe there is more, more, more….

Powerfully epic breaky sound hailing from the UK during the early 90s. Beautiful tempo juxtaposition of fast passed driving beats pushed by low ph bass lines under slower piano riffs and patient vocal elements making it a hard one to forget.

Low end elements clearly carved from primordial UK Bass aesthetics taking the amen break to new plateaus already very much overlapping with Drum & Bass territory.

Ultra dreamy vocals on some kind of The Mamas and The Papas reincarnation, UK dreaming all the way. Heavy ending track vibes. In addition, Juan Ramos' masterful half tempo remix offers the listener a completely different experience with full respect for the original, what else to expect from someone with this caliber of dance floor education <3 meticulously remastered.

Record number 3 from Unveiled Nuance brings a new confidence in the further developed sound of owner Means&3rd. A continued eye for detail as well as a roughness that breathes dark soul into the production aesthetic that we have yet to hear from the artist.

“Hardship Repackaged As Growth” Opens the EP with boomy, rugged low end and grainy driven synth lines with sharp hits of wide sonic impact and a depth of layered atmosphere, placed on a bed of dense percussion until its break point exposes contorted, abrasive stabs just surviving the crunch of their processing, that then take the forefront. “Countenance” replies to the previous track with a more calculated, rounder and organic palette of audio that focuses on a cadenced synth line that breaths with the arrangement, fizzing to break point and engaging the deeper listen. Swung percussion keeps the groove providing a propulsive backing that sits on ganrled bass hits before the focus returns on the charged lead line.

“Character Ethic” carries deep suspense from the off, with filtered menace being teased below the surface, warping atmospheres are stacked and build the apprehension against a militant 16th shaker before an almost vocal like modulated synth reveals itself and is left to dance prominently across the stereo field. Layers of energy providing percussion complete the picture for a mesmerising trip. “Desperate And Relevant” the most driving of the 4 cuts takes an effectively reduced stand where square wave accents build new levels of intensity. Propulsive low-end and cohesive percussion writhe through the track’s arrangement closing out the EP with a powerful ending, a blistering siren sees the track’s breakpoint provide a release worthy of the pressure built.

FSOL present the final instalment in the Environments Trilogy. “7.003” goes deeper and darker than the previous two albums, the flavour here harping back with memories of the group’s 90’s sounding pre “Dead Cities” album. On this release we have swamp laden electronics dripping from cavernous breakbeats weaving in and out of otherworldly chords and strings firmly back in the driving seat.

FSOL deliver not only the final piece of the jigsaw but a clever jaw-droppingly sensorium.

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

180 GRAM AUDIOPHILE VINYL

INCLUDES 8-PAGE BOOKLET WITH PHOTOS AND LYRICS
MULTIPLE PLATINUM CERTIFIED ALBUM FEATURING THE SINGLES “IN THIS LIFE”,

“BELIEVE AGAIN”, “YOU WILL ONLY BREAK MY HEART” AND “I CAN’T BREAK IT TO MY HEART”

PEAKED AT #1 ON THE AUSTRALIAN ALBUMS CHART AND US BILLBOARD TOP HEATSEEKERS CHART
FOR THE FIRST TIME AVAILABLE ON VINYL
LIMITED EDITION OF 2000 INDIVIDUALLY NUMBERED COPIES ON GOLD & BLACK MARBLED VINYL

Encore!? Say no more.. Plush number 4 is here!
Elusive local live hero JCow soft launches into the arms of Plush Records, bringing a modern day classique to the underground masses. The Berlin based producer & DJ has been humbly making waves amongst prancers and dancers; unless you’ve been living under a rock!

“Wish U Were Here W Me” is a pupil dilating, rump shaking sunrise anthem; a melodic masterclass with a bassline that puts funky town to shame. Vocals expertly extracted from Brandy’s “Long Distance'' which soar like silk over a breathtaking breakdown.. tugging at heartstrings across the globe. The Emotional Breakdown mix is catering to the softies out there, stripped back and filling up your cup, pure natural ecstasy.

Close your eyes and get lost in the groove.

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Re-Release von R.I.B., das Album der deutschen Thrash Metal Legende Tankard, das ursprünglich am 2014 über Nuclear Blast Records veröffentlicht wurde. Fast zehn Jahren nach seiner ursprünglichen Veröffentlichung, wird das Album in limitierter Auflage als Gatefold Red/White/Black Splatter veröffentlicht.

The composer behind one of the most sensational breakthroughs in Danish music invites you on a crackling, ever-changing and deeply personal journey. His third album Atmospherics drops after a decade in which Mike Sheridan has searched deeply to find and capture his inner sound.
Films, theatres and art museums have benefited from Mike Sheridan‘s sense of sound and melody for the past 10 years. An album has been a long time coming because, in the wake of his breakthrough at the age of 16, he needed to listen extra closely to his inner sounds.
With Atmospherics, he unfolds the music in a meeting between who he once was and who he is today.
Three years ago, he began to create what is now the album Atmospherics. The term refers to electrical disturbances in the atmosphere, such as during a thunderstorm, which can interact with and distort wireless signals. Here, the title refers to both the sound of the album itself, where computer collages, classical instruments crystal clear melodies and heavy rhythms collide, and to the electronic processing and reworking. But really, he thought it would be a quiet release, almost devoid of melodies. Themes and music slide in and out of each other on the album. There are moments of dub, techno, pop and modern compositional music.
There are sounds and beats that crackle, dissolve, replace each other, or connect with each other in new ways.In this way, Atmospherics can be listened to as a long exhalation from an artist who has dared to hold his breath longer than most.
Atmospherics features both Danish and international guests such as Agnes Aldén (a singer, songwriter and producer from Falun, Sweden), Indra Rios-Moore (a singer, songwriter and arranger, from the Lower East Side of Manhattan), BYLJA and Janus Rasmussen - as well as a host of Sheridan‘s regular musicians.
The artwork for Atmospherics is created by visual artist Nicolai Howalt.

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

Der fünffach Grammy-nominierte und mehrfach mit Platin ausgezeichnete Blues/Rock-Gitarrist Kenny Wayne Shepherd hat die Veröffentlichung seines neuen Albums "Dirt On My Diamonds Vol 1" angekündigt, das am 17. November 2023 über Provogue Records erscheinen wird.
Gleichzeitig erscheint 'Goin' Home' aus dem Jahr 2014, das Shepherds größte Einflüsse in der Musik zeigt. Das Album enthält Songs, die ursprünglich von einigen von Shepherds Helden wie B.B. King, Albert King, Bo Diddley, Stevie Ray Vaughan, Johnny "Guitar" Watson, Lee Dorsey und vielen anderen Ikonen des Blues aufgenommen wurden. Er griff tief in ihre Kataloge und wählte Songs aus, die ihn inspirierten, als er das Gitarrenspiel erlernte. '
Goin' Home' enthält auch Gastauftritte von einigen von Shepherds Freunden (die zufällig auch einige der größten Musiker sind, die heute auftreten), darunter Ringo Starr, Joe Walsh, Warren Haynes, Keb' Mo', Robert Randolph, Kim Wilson (Fabulous Thunderbirds), Pastor Brady Blade, Sr. und die Rebirth Brass Band.

After a 3-year hiatus, Noerk is back with a spacey acidic three tracker plus a rolling peaktime remix from our good friend and really talented producer Lee Burton. Untitled_02 is an electrified, deep yet funky tribute to Vangelis (as we perceive it) with lush synthesizers and grooving 303s. Pending forties is reminding us of the 90s era when sample based breakbeat and acid realised they were made for each other like peanut butter and jelly. It's Over (original mix), on the other hand, follows a more straightforward 4 on the floor loop and lets the jazzy chords and the intergalactic melodies do all the work. Lee Burton's remix wraps up the EP nicely offering us a certified banger with 90s house elements that can destroy any dancefloor. We have entered the wormhole. Time and space are no longer relevant. Only feelings.

Brazil's Zopelar continues to make stellar underground dance music and as a result, Techno House Connoisseurs has another hit record on their hands. He launches with FalaSerio into the acid jazz breakbeat stratosphere and doesn't look back as the track weaves, skips, jumps and floats...all with crisp hi's and acid distorting throughout. 808 Dream is exactly as it sounds, mezmerizing, quirky and jacking. Pads warp and drift but not too far, all while the acid worms into your head for that early am mind f*ck. Acid 1 is the peak hour monster that is set to demolish even the most discerning dancefloor. Relentless and unwavering, it's an all out onslaught of acid squelching, percussionistic chaos. This track is not to be denied and will have the walls sweating. Lastly, Zopelar and fellow Brazilain artist RHR collide to deliver an epic acid techno driver in Acid Republic. What a thrill it is hearing this on a proper system, nearly 7 minutes of pure 303 techno hypnosis. Limited 300 copies.

Harry Romero returns to Crosstown Rebels as he links with vocalist Shyam P for ‘Mind Games’.

With a catalogue as rich as any and continuing at the top of his game two decades after his emergence within New York’s fabled nightlife scene, Harry Romero continues to serve up his own take of Latin-inspired and percussive- driven house music via a long list of the industry’s leading imprints. Having previously remixed Chilean favourite Francisco Allendes on the label last year alongside his collaborative ‘It Hurts’ EP with Jessica Eve in 2021 and his contribution to the ‘Spirits III’ compilation before that, the Bambossa Records head honcho is back on Damian Lazarus’ revered Crosstown Rebels for his latest EP project, uniting London-bon, Dubai based singer/ songwriter Shyam P for the excellent ‘Mind Games’.

Crafting a slick and heady groove before launching into a hypnotic haze accenting by a bubbling bassline, ‘Mind Games’ is an infectious and vibrant house cut as Shyam P’s alluring vocals take hold amongst emotive builds and breaks. Nest, ‘Mira’ is a classic Romero offering as the focus shifts to crisp organic percussion arrangements, carnival-esque whistles and hooky Latin vocals for a bustling terrace number, before ‘Analog Bugz’ takes cues from its title as crisp drum shots and sharp stabs unite to create a no-nonsense builder made for the main room.

Ben E. King was an American soul and R&B singer and record producer. He rose to prominence as one of the principal lead singers of the R&B vocal group The Drifters, singing the lead vocals on three of their biggest hit singles "There Goes My Baby", “This Magic Moment", and "Save the Last Dance for Me". As a soloist, King is best known as the singer and co-composer of "Stand by Me", which became a Top 10 hit. Additionally, King was the original recording artist of the singles "Spanish Harlem", "Groovin'", and "Till I Can't Take It Anymore" all of which have been covered by multiple artists.

The first color pressing of this title. We’re talkin’ TEX-MEX ROCK ‘N’ ROLL! In this show from January 21, 1981, Doug Sahm (AKA Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR DOUGLAS QUINTET was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

Mustard coloured double vinyl housed in deluxe
gatefold sleeve. Includes double-sided printed art
poster and digital download card.
 Following his breakthrough electroacoustic soundtrack
for ‘Candyman’ and his score for the moody feature
‘Master’ comes a new soundtrack from the everunpredictable composer Robert Aiki Aubrey Lowe.
 Filmed over the course of three seasons,
‘Grasshopper Republic’ follows a local grasshopper
trapping team in verité style, as these modern-day
prospectors who harvest and sell the insects push into
remote forests seeking their fortune by capturing this
elusive prey.
 Lowe’s electronic music soundtracks both the seen
and unseen moments that produced the film’s holistic
abstraction of the intersecting worlds of insects,
humans, and economy. “I wanted to be able to create
a world which was a justifiable language within that
space, and to be able to enhance that experience
because the film is experiential and immersive.” -
Robert Aiki Aubrey Lowe

Guachinche Records is a label that has taken on board the best of the Andalusia and Tenerife breakbeat scenes. Led by the experienced groups Mutantbreakz and Bubble Couple, the label is known for its good taste, variety and good judgement when it comes to selecting the music that makes up its catalogue. All those years experience of broken beats have inevitably led to the release of this brilliant GUACH001 The label first vinyl offering is a compilation album that offers a perfect summation of its essence and quality.

The record opens with a sure-fire hit by the legendary Rasco, who, together with Bubble Couple, has created Old Groove. Featuring piano and the kind of baselines to stick in the memory and make your hair stand on end, it's a track that many of you have been waiting to get hold of in vinyl format. The trip continues in the hands of Suga 7, who offers a true taste of the Canary Islands on his classy track Hideaway, a sheer delight with the high tempos and playful basses so beloved of the Islanders.

We then move on to the B-side, which features an absolute gem of a sound by the duo Mutantbreakz. A musically elaborate track with quality touches and passages of guitar, piano and vocals, it grabs you right from the start of a sonic trip that will prepare you for the final denouement Raverman brings things to a close with the epic Sayonora and a slice of acid electro-trance. This striking ending rounds off the kind of record that doesn't come along every day.

Mastered by Simon Davey at the Exchange Vinyl in London.

In the wake of Young Marble Giants’ breakup, two acts were created, with Stuart Moxham taking minimalist, geometric play to extremes while Alison Statton added more warmth and feeling to a similar template, creating something stunning yet based in popular forms. Those two opposing means of forging paths away from one of music’s most astonishingly unique debuts both included Stuart’s brother, Phil. More recently, both have reversed course, with Stuart proving himself a master of classic pop form, with Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. But that’s another tale. With no template to guide him, Stuart’s new music - as The Gist - was regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so perversely, he decided to take all directions at once. The Gist’s original discography stood at a scant 18 songs, yet only seven featured Stuart’s own voice, often in heavily processed and oddly-mixed form. The Gist’s label, Rough Trade, dropped the band. Starting with a critical re-evaluation of The Gist’s sole album Embrace The Herd in an issue of Mojo, the tide begin to turn. Ambience in pop has long enjoyed a cult following, and the nonlinear structure of many of The Gist’s songs have parallels with artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France - sounding rather advanced for French pop at the time, it ended up selling over a million copies and was later covered by Lush and sampled by DJ Koze with Lambchop singer / songwriter Kurt Wagner. Recent discovery of a trove of unreleased recordings show that Stuart had held back an array of excellent material, in demo and completed forms, often in different arrangements. Interior Windows adds 13 new performances or alternate versions to the band’s catalogue, and does the service of making both sides of The Gist’s first 7” 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the NME / Rough Trade cassette compilation C81, and in keeping with The Gist’s tradition, at least one song on which Stuart does not appear

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

After last years „4 THA CULTURE“ and his collaboration with horsegiirL „My Little White Pony“ MCR-T releases his debut album „My Voice My Weapon Of Choice“. My Voice My Weapon Of Choice weaponises MCR-T ́s fierce Soul Power on the mic. This album being more personal than usual, MCR-T does not shy away from giving his listeners insights to his inner demons and personal battles over the course of making this release. Tracks that all tell deep and personal stories while staying true to their club functional nature. MCR-T pays homage to Grace Jones' opening statement on her record “This Is”. Realizing that the liberation of self starts with the paper and pen, the means to an end - therapeutic self expression. Bold statements backed by even bolder sounding rracks all across the electronic music spectrum to underline not only his versatility on the dancefloor but also in the studio. Different flavors for the deserving multifaceted raver of tomorrow.