Suche:da ta

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

wieder lieferbar Die Camouflage? Ja, richtig: die Camouflage, Meister der Traurigkeit im Kleid des elektronischen Songs. 1987 eroberte die deutsche Band mit "The Great Commandment" Platz eins der US-Billboard-Dance-Charts, die Musik verband genialisch die Kühle von Kraftwerk, den Pop von OMD und die melancholische Düsternis von Depeche Mode. Jetzt erscheint "Greyscale": ein frappierend aktuelles, zwingendes Album. Untätig war die Gruppe seit den späten 80ern ohnehin nicht: Regelmäßig erschienen Alben, zuletzt 2006 das Album "Relocated" und 2014 eine Single-Compilation - auf Facebook zählt die Gruppe über 50.000 Fans. Die Musik auf "Greyscale" klingt weit und atmosphärisch und gleichzeitig zwingend und dicht. Produziert hat Mastermind Heiko Maile, der auch als Filmmusikkomponist Erfolge feiert. Stilsicher kontrastiert er elektronische Elemente mit akustischen, neben Beats und Gitarren sind auch ein Kinderchor und das Streicherensemble des Deutschen Filmorchesters Babelsberg zu hören. Songs für den Tanzboden und fürs Herz - und auf einem ist gar Peter Heppner zu hören.

RTJ3, the third outing by the firebrand rap duo of Killer Mike and El-P, features a cadre of talented guest performers, including Zach de la Rocha, Danny Brown, Tunde Adebimpe of TV On The Radio, Kamasi Washington, and more. The album is "essentially the Run the Jewels manifesto, an outpouring of rage and defiance that never loses sight of the objectives: rallying the troops, holding all accountable, and toppling oppression." (Pitchfork)

Released on Christmas Day 2016, the album charted in 11 countries, with its breakout hit from the album, "Legend Has It", being featured in the Super Bowl advertisement for the global blockbuster feature film "Black Panther". Embraced by fans and critics alike, it's received praise for its near-perfect execution as well as its sharp, visceral observations, blistering beats and superb guest artists, cementing RTJ as one of the most important artists of its era.

Rasmus Littauer (School Of X), Musiker hinter gefeierten Releases und Kollabos mit Liss, Trentemøller, Mø und Deb Never, veröffentlicht seine neue LP "Seventh Heaven". Da der verworfene Erstentwurf nach einer Wiederholung früherer Werke klang, erweiterte Rasmus das Team und gab die Produktion in fremde Hände. So wurden die Songs mit neuer Band und dem Produzenten Søren Buhl Lassen (Lucky Lo, Brimheim) aufgenommen, was Raum für Rasmus schuf, sich auf Musik und Songwriting zu konzentrieren, während die Band School Of X' intensive Live-Energie und vielschichtige Musik in eine dynamische Performance kanalisierte, die energetische Ausbrüche mit zarten, intimen Momenten ausbalanciert. Die LP ist per Sticker versiegelt und nicht cellophaniert.

Who You Selling For is the third studio album by American rock band The Pretty Reckless. It was originally released on October 21, 2016 and since reached #13 on the US Billboard 200, #12 in Canada, and #23 on the UK Albums Chart. Its lead single, "Take Me Down", topped the Billboard US Mainstream Rock chart in October 2016. Produced by longtime collaborator Kato Khandwala, the album is a unique collection of scorching rock tunes with soulful, bluesy undertones. Who You Selling For reveals the band’s continuing evolution in songwriting, as frontwoman Taylor Momsen maintains her signature dark lyrics and raw, sexy vocals while delving deeper into elements of blues and southern rock guitar than on the band’s previous albums.

Soap & Skin kündigt mit dem Cover-Song 'Mystery Of Love' (im Original von Sufjan Stevens) ihr erstes Cover-Album 'TORSO' an, das am 22. November über Play It Again Sam erscheinen wird. Anja Plaschg alias Soap&Skin hatte schon immer ein besonderes Talent dafür, Songs mit einem ganz eigenen Ansatz neu zu interpretieren. Als das Donau-Festival sie 2022 einlud, an einem Abend sämtliche über die Jahre entstandenen Cover-Stücke aufzuführen, kam ihr die Idee zu einer festen Sammlung - die jetzt gebündelt als Album 'TORSO' erscheint.

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7". Video Age make breezy and timeless songs that are so ineable, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Originally released in 2023 via a humble run of 100 cassette tapes, c-thruʼs debut album “The Otherworld” is now available on black vinyl with a full colour jacket designed by Vancouver based illustrator Tylor Macmillan.

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and downtempo from Austin, Texas-based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards. Previous works include his well-received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together, including works with Flying Saucer Attack, His Name is Alive, and Odd Nosdam (Anticon).

Essential listening for anyone enamoured with the golden era of futuristic audio.

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too.
Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Mit ihrer EP "To the Stars" knüpfen BEBORN BETON direkt an ihr neuntes Album "Darkness Falls Again" an. Das deutsche Synthie Pop Trio erweitert mit den drei neuen Tracks und vier Remixen der EP die musikalische Bandbreite des Albums und bleibt dessem Geist dabei sowohl lyrisch als auch musikalisch treu. Es gibt mehr als eine Art, BEBORN BETONs neuntes Album "Darkness Falls Again" zu hören: Es lässt sich einfach nur tanzen und als zeitgenössische Synthie-Pop-Hymnen genießen, die musikalisch fest in den goldenen 80ern verankert sind - und mit einer Prise leckerer 90er-Einflüsse serviert werden. Eingängige Melodien und ausgereiftes Songwriting verbinden sich zu einer klanglichen Spritztour. Doch BEBORN BETON legen ihren Finger auch auf den Puls unserer Zeit. Das Trio spricht sich lyrisch klar gegen Frauenfeindlichkeit, sexuelle Diskriminierung und Umweltzerstörung aus. BEBORN BETON wurden 1989 von Sänger Stefan Netschio, Keyboarder und Schlagzeuger Stefan Tillmann sowie Keyboarder Michael Wagner gegründet. Die drei Deutschen setzten sich erfolgreich zum Ziel, den Synth-Pop relevant zu halten und ihn um wichtige Inhalte zu bereichern. Nach den ersten beiden regulären Alben "Tybalt" (1993) und "Concrete Ground" (1994) trafen BEBORN BETON in ihrer neuen Label-Heimat auf namhafte Acts wie WOLFSHEIM und DE/VISION. Nachdem sich die Elektro-Musiker in Deutschland fest etabliert hatten, expandierten die Drei mit dem 1996 erschienenen Album "Nightfall" ins Ausland, wo sie ebenso wie mit den folgenden Scheiben "Truth" (1997) und "Fake" (1999) bei Kritikern und Fans auf große Gegenliebe stießen. Spätestens mit dem im Jahr 2000 erschienenen Werk "Rückkehr zum Eisplaneten" hatten sich BEBORN BETON in ihrer Szene fest als Headliner positioniert und in allen Hochburgen der elektronischen Musik rund um den Globus gespielt. Doch die anstrengenden Touren und die kreativ äußerst anspruchsvolle Veröffentlichung so vieler exzellenter Alben in kurzer Folge forderten ihren Tribut. Nachdem die Band "Tales from Another World" (2002) vorgelegt hatte, worauf sie unter anderem eine ausgedehnte Konzertreise quer durch die USA absolvierte, legten BEBORN BETON eine längere Pause ein. Erst 13 Jahre später kehrten BEBORN BETON zur großen Freude und Überraschung ihrer immer noch zahlreichen Anhängerschaft mit einem neuen Album auf Dependent Records zurück. "A Worthy Compensation" (2015) wurde von allen einschlägigen Magazinen wie Sonic Seducer und Orkus mit Lob überschüttet. Da BEBORN BETON nicht in einen unerbittlichen Produktionszyklus zurückfallen wollten, nahm sich das Trio genügend Zeit, um ein weiteres Meisterwerk zu komponieren. "Darkness Falls Again" hat all die köstlichen Zutaten, die Synth-Pop so großartig machen: Eingängige Songs, die die Beine zucken lassen. Eine Prise Melancholie. Eine Dosis Ironie. Aber auch eine Messerspitze Wut. BEBORN BETON haben mit ihrem letzten Album wieder Musik mit Aussagen und Verstand abgeliefert, was sich auf der EP "To the Stars" nahtlos fortsetzt. Nochmals willkommen zurück, BEBORN BETON!

Das zweite Album von The 69 Eyes, „Savage Garden“, erscheint im November 2024 über Svart Records.
1995 veröffentlichten The 69 Eyes ihr zweites Album „Savage Garden“ auf Gaga Goodies. Dieses Album enthielt die ersten Hinweise auf die
Gothic-Richtung, in die sie sich bewegten, während sie immer noch die Fahne des Sleaze-Rocks schwenkten, für den sie zu dieser Zeit bekannt waren.
Krawallige Rockmusik und viel geradlinige, eingängige Energie mit garantiert düsterer Atmosphäre.
„Savage Garden“ wurde von Mika Jussila in enger Zusammenarbeit mit den Mitgliedern der Band in den Finnvox Studios für Vinyl neu gemastert.

Das zweite Album von The 69 Eyes, „Savage Garden“, erscheint im November 2024 über Svart Records.
1995 veröffentlichten The 69 Eyes ihr zweites Album „Savage Garden“ auf Gaga Goodies. Dieses Album enthielt die ersten Hinweise auf die
Gothic-Richtung, in die sie sich bewegten, während sie immer noch die Fahne des Sleaze-Rocks schwenkten, für den sie zu dieser Zeit bekannt waren.
Krawallige Rockmusik und viel geradlinige, eingängige Energie mit garantiert düsterer Atmosphäre.
„Savage Garden“ wurde von Mika Jussila in enger Zusammenarbeit mit den Mitgliedern der Band in den Finnvox Studios für Vinyl neu gemastert.

LP im Klappcover mit bedruckter Innenhülle. Nach zwei Jahren ist Coyote Butterfly das erste Album mit neuen Songs von Simon Joyner, dem Singer-Songwriter aus Omaha, NE. Zwei Jahre, nachdem sein Sohn Owen im August 2022 an einer Überdosis gestorben war. Das bekenntnissreiche Album ist zunächst eine Hommage an Owen, aber was Joyner hier ebenso großzügig wie berührend teilt, ist ein intimer Einblick in den Versuch, Unfassbares zu begreifen. "Wie geht es jetzt weiter?" Diese Frage hat Simon Joyner auf nahezu all seinen Alben als Ausgangspunkt seiner Songs versucht zu beantworten. Er schrieb über das menschliche Dilemma im Allgemeinen. Um schwierige Wahrheiten zu erzählen nutze er die Fiktion seiner Charaktere, die sich durch persönliche Krisen in einer unzureichenden amerikanischen Gesellschaft kämpfen. Etwas durchgängig düsteres lag über den Erzählungen, die im Wesen allerdings nie nihilistisch waren. Das Brüchige, das auch Stilmittel seiner Musik, vor allem seiner Stimme ist, war etwas, das es anzunehmen und auszuhalten galt. Um die Eingangsfrage zu beantworten, um im Leben zu Bestehen, um zu überleben, müssen wir wissen, wo wir stehen. Auf seinem neuen Album Coyote Butterfly fehlt erstmals dieser fiktive Charakter. Es ist sicher sein persönlichtes Werk. Dennoch bietet es einen universellen Aspekt und die Antwort auf Frage, wie es weiter geht, ist diesmal die Platte und der Prozess des Songwritings und der Aufnahmen selbst. Coyote Butterfly wurzelt im Schmerz des Vaters Simon Joyner über den Tod des Sohnes, der sich überraschend kurz nach Veröffentlichung seines 2022er Albums "Songs From A Stolen Guitar" ereignete. Zwei Jahre hat es gedauert, bis sich seine Trauer zu Liedern formen konnte. Joyner fand so ein Ventil für seinen Schmerz und einen Kanal, um die unzähligen Emotionen zu verarbeiten, die seine Erfahrung umkreisen. Umgeben von einer Reihe enger Freunde, darunter David Nance, James Schroeder, Kevin Donahue, Ben Brodin und Michael Krassner, ist das Album sparsam, aber nicht karg. Eingerahmt wird es von zwei field recording-artigen Instrumentals. Dazwischen setzt sich Joyner in acht Songs mit Trauer, Angst, Scham und Liebe auseinander, legt die Kämpfe derjenigen offen, die im Kielwasser einer persönlichen Katastrophe zurück bleiben. Mit einem Album von solcher Intimität erinnert uns Joyner daran, wie wichtig es ist, Kunst zu nutzen, um das zutiefst Persönliche, auch vermeintlich Unfassbare in Schönheit umzuwandeln. Der Hörer ist eingeladen, sich mit ihm in solch eine Situation zu denken und das eigene Herz zu öffnen. Coyote Butterfly ist eine ehrliche, somit wunderschöne Beschwörung der Trauer eines Vaters, aber auch ein universelles Zeugnis für die Liebe und für das Leben, das nach einem Verlust weitergeht.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

LAVENDER, das Debütalbum der Alternative-R&B-Musikerin MULAY, ist ein zutiefst persönliches Projekt. In zwölf kunstvoll intimen Songs verarbeitet sie eine intensive, schmerzhafte Erfahrung mit toxischer Liebe. Aber LAVENDER ist viel mehr als ein klassisches Heartbreak-Album. Es ist ein Plädoyer dafür, an Verletzungen und Enttäuschungen zu wachsen. Ein Leuchtfeuer im Sturm dunkler Zeiten, das von Heilung, Selbstentdeckung und Empowerment erzählt. Stärke durch Verletzlichkeit – das ist das Mantra dieser Platte.

Mit LAVENDER setzt die in Berlin lebende Singer-Songwriterin, Produzentin und Künstlerin den Weg fort, den sie mit zwei EPs begonnen hat: ANTRACYTE (2021) und IVORY (2022) ergänzten sich konzeptionell zu einem interdisziplinären Gesamtkunstwerk aus Sound, Gesang, Visuals und Performance, bei dem ambivalente Gefühle, Licht und Dunkelheit, zusammengedacht werden. Entstanden sind die Songs zwischen Paris, London und Berlin – zusammen mit alten (Llucid, Novaa), aber vor allem mit neuen Kreativpartnern wie den französischen Produzenten/Multiinstrumentalisten Elie Zylberman und Jules Minck. Auf der Suche nach ihrer kompromisslosen Wahrheit bewegt MULAY sich fließend zwischen innovativem Songwriting und ambitionierten Produktionen, die weite, kaleidoskopartige Soundräume voll von souligem R&B, Hip Hop und Electronica aufmachen. MULAY verwandelt Schmerz und Wut in fiebrig aufgeladene, ansteckende Soundscapes, in denen Downtempo-Momente und schnellere, tanzbare Beats sirupartig zu einem emotionalen Rausch zusammenfließen.

10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.

Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).

Matt Gilmour's latest album, "Business As Usual," marks a bold evolution in his sound and lyrical depth. With a blend of introspective lyrics and catchy melodies, the album explores themes of resilience, personal growth, and the complexities of modern life.

The project opens with the infectious lead single, setting a dynamic tone that resonates throughout. Gilmour's signature blend of genres—from rock to pop and elements of electronic—creates a diverse soundscape that captures the listener's attention. Each track delves into various facets of daily life, reflecting both the mundane and the extraordinary.

Collaborating with a range of talented musicians and producers, Gilmour infuses fresh energy into his work, resulting in a polished yet authentic feel. Standout tracks showcase his ability to balance heartfelt ballads with upbeat anthems, all while maintaining a cohesive narrative.

"Business As Usual" is not just an album; it’s a journey through the everyday hustle, reminding us that even amidst routine, there’s beauty to be found. With this release, Matt Gilmour solidifies his place as a compelling voice in contemporary music, ready to resonate with fans old and new.

Die Post-Punk Sensation SPRINTS aus Dublin mit ihrem Debut-Album bei City Slang! Das Album enthält den 2022 Hit 'Literary Mind' und neue Singles wie 'Up And Comer' und 'Adore Adore Adore'!

Die Post-Punk Sensation SPRINTS aus Dublin, bestehend aus Karla Chubb (Gesang/Gitarre), Gitarrist Colm O'Reilly, Schlagzeuger Jack Callan und Bassist Sam McCann, reiste in 2023 ins französische Loire-Tal, um das Album in zwölf Tagen mit Daniel Fox von der Gilla Band aufzunehmen. Das Ergebnis ist ein umwerfend kraftvolles Album mit der Botschaft für mehr Selbstakzeptanz.

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink

Am 22. November veröffentlicht section1 eine Sammlung von Soloklaviermusik - 'piano1' enthält Original-Solostücke von 12 Künstlern, darunter Kelly Moran, Hand Habits, Youth Lagoon und andere.

Die Songs auf 'piano1' betonen die Schönheit und heilende Kraft der Klaviermusik und bewegen sich zwischen zeitgenössischer Klassik, Experimentalmusik und Ambient.

Die Compilation stellt sowohl die beteiligten Künstler vor als auch das Klavier als Instrument und die Art und Weise, wie verschiedene Künstler ihre kreative Beziehung zu diesem Instrument gestalten. Das berühmte Zitat von Brian Eno („as ignorable as it is interesting“) diente als Leitfaden für die Auswahl der Beiträge.

"Can machines sing? With his Synthetic album cycle, Rich Aucoin answers that question with a resounding, exuberant ""yes."" The four-part project sweeps listeners through a gallery tour of synthesis history, giving voice to a chorus of specimens from the past century of electronic sound. On Season 3, Aucoin deepens his dive into the variegated genealogy of dance music, charting a joyful course through the many flavors of rave euphoria.

From March 2020 through February 2024, Aucoin recorded Synthetic: Season 3 during a series of visits to the National Music Centre in Calgary and the Vintage Synthesizer Museum in Los Angeles. Among these collections, he found historic synthesizers ranging from the ubiquitous to the esoteric, each with its own voice just waiting to be jolted to life. During these sessions, Aucoin took the opportunity to air out some of synth history's most iconic instruments.

From the mass-produced to the bespoke, each synthesizer on Synthetic: Season 3 sends a transmission from its makers' own historical vision of the future. The instruments' tactile interfaces -- from fields of patch jacks to 50-year-old optical discs to rows and rows of voltage dials -- all lend embodied dimension to the practice of shaping sound from raw electricity. Each of them carries a story about what might have tumbled into being from the moment of their creation. In awakening these machines, Aucoin cross-pollinates a choir of futures into an ecstatic, reverential present."

"We're happy to announce the repress one of El Búho's more emblematic album and a key release on downtempo scene.

On Camino de Flores, his second full-length album, El Búho reimagines electronic music through the lense of the natural world and its rich soundscapes.

Drawing on the inspiration of traditional rhythms and sounds, notably from Latin America, Camino de Flores is an album that transports you to another place. Following the success of his first LP, titled Balance, El Búho is back and takes us on a journey from high mountains to cascading waterfalls, from a dusky rainforest to a crackling fire beneath a clear, star-filled sky. The album charts a pathway between traditional rhythms, the sound of the natural world, IDM electronica and a deep, enveloping dancefloor sound."

Two years ago, after Covid sent the industry into a tailspin I made the sad decision to stop pressing Holding Hands records to vinyl. This was gutting as the label had been putting records out from the first release and it had always felt like an integral part of the label’s identity.

It sucked but I always hoped that in the future I would be able to feel confident in pressing records again and I am so happy to say that the time has finally come again!


Earth Trax popped into my inbox with some demos and I instantly knew there was something special here. The tracks are absolutely timeless and will do the business on any dancefloor from now until the end of time.

The A sides have more of loopy club quality that you could listen to all night. The sort of thing that you just lose yourself to when it comes on in the club. You aren’t sure exactly when it came on but you suddenly realise that you’ve been gurning with your eyes closed for some indeterminate amount of time. Basically, they’re very chewy loops (note to self: potential cereal idea).

The B sides have more of a...for lack of a better word, B side quality to them. They’re both broken and they make me want to move my body from side to side in a sort of jagged cool 80’s way. Ones to make you move and think at the same time.

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

Warpathis the second studio album by American death metal band Six Feet Under.Tracks on this album include "Death or Glory", which is a cover of a song originally done by Holocaust, and "4:20", a song four minutes and twenty seconds in length which,according to theliner notes, was recorded at 4:20 PM on April 20, 1997.The last album to feature founding guitarist Allen West.

Mit DIAMANTIK entführen MONDO SANGUE das Publikum in die schillernde, stylische Welt der Swinging Sixties. Natürlich nicht ohne inhaltlichen Twist - das psychedelisch angehauchte Pop-Art-Abenteuer liefert einige Grenzgänge: Eurospy, Abenteuer und Martial-Arts-Kino treffen auf Beat, Bossanova und sogar Disco. Heraus kommt ein zeitloser Genre-Cocktail, zusammengeschüttelt und serviert als knallbuntes Konzeptalbum. Mittels kantiger E-Gitarren, grooviger Schlagzeug-Beats, glamouröser Orchestersätze und epischer Gesangslinien erzählt DIAMANTIK von den waghalsigen Eskapaden einer von Liebe und Rache getriebenen Diamantendiebin. Dabei dürfen mörderische Ninjas, gerissene Kommissare, blutdurstige Haie und verführerische Sirenen bei dieser musikalischen Hetzjagd um die Welt nicht fehlen. Wie immer werden diverse filmische, wie musikalische Verweise ans italienische Genrekino offen ausgespielt, sodass cineastische Grenzgänger*innen ein stilsicheres Zwinkern in Richtung Mario Bava oder Ennio Morricone bemerken dürften. Zusätzlich doppelten Boden erhält die Platte durch die Hommage an die kultigen, italienischen "Fumetti neri" Comics, welche sich äußerst liberal mit den dunkleren Themen der Popkultur auseinandersetzen. Heraus kommt eine äußerst tanzbare, Beat-getriebene Mischung aus imaginärem Kult-Soundtrack und Retropop. MONDO SANGUE haben für ihr sechstes Album DIAMANTIK wieder einen illustren Kreis Gleichgesinnter um sich geschart: Neben den vormaligen Kooperateuren Bela B und Rocko Schamoni sind erstmals auch Stefanie Schrank, Sedlmeir und das Pariser Duo Eroina mit von der Partie.

"Alternative History: A Cracker Retrospective" is a dynamic journey through the sonic landscape of Cracker, one of alt-rock"s most enduring and beloved bands. This special compilation album offers fans a fresh perspective on Cracker"s rich musical catalogue, featuring alternative versions, re-recordings, and live takes from the band"s history. Spanning their entire career, this retrospective highlights the band"s evolution, revisiting classic songs with new energy, creative arrangements, and live recordings that capture their unfiltered spirit. Featuring 5 previously unreleased versions and 6 rare live recordings the album presents a mix of fan favourites and deeper cuts.




[b] Teen Angst (What The World Needs Now) [Redux Version]

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

Recorded by McIlroy’s long-time friend and musical associate, Big A, the songs are laden with cracked harmonies and homemade instruments, including found materials used as percussion. The pair drew on the talents of fellow travellers for backing vocals and rhythm tracks which has resulted in the live outfit expanding to a three piece, with Ben Price (bass) and Charlie Garson (drums) on board.
Commenting on the writing process McIlroy explains:
“It was written during a period of madness and adverse offending behaviours. The songs dash from one theme to another and reflect the mistaken beliefs we cling to when our perceived realities are threatened. It’s also got jokes.”
Opposing a streaming culture that values top tracks and playlists, the record is intended to be heard in one sitting, with Side A showcasing more extroverted songs, in all their loudmouth braggadocio, and Side B being more introspective and honest.

LA-based label Milkcrate Mondays has pleased many a dancer with the MCM Edits series and now the fourth volume in relatively quick succession offers more irresistible heat from a trio of talents. DJ Abel opens up with 'Dem Nah We' which is low slung hip-hop fun with raw, characterful vocals and Afro flourishes. DJ Netwerk's 'Everlasting' is a more slow motion and Balearic joint for sundown and DJ Soulcab's 'Buena' is a shuffling and dembow-infused carnival rhythm with brilliant accordion leads.

Jan Anderzén - living in Tampere, Finland - is a collage artist making music, quilts, drawings, mosaics, videos and other things. From him, among a few others, sprang the The River of Finland. A stream that shook the European underground for infinity, back from the years 2005 and up. Jan is/was involved in acts like Kemialliset Ystävät, Avarus, Tomutonttu and The Anaksimandros. When in the past some of that River of Finland tasted like a fermented ocean of mycelia - today it tastes different, like sparkling water.

Halki pilvien - transl. Trough the clouds - brings exactly what one expects from the clouds. It is a collection of soft and gentle movements, as playful as a ‘Jan Anderzén type of music’ is always. A collection of patterns that solidify for just a brief moment in time, before sublimating in the back of the mind. This album is in constant motion.

Push play. A warped piano and cartoonish SFX’s might foretell a hyperreal approach to music. Yet while the champion of hyperrealism, Noah Creshevsky, describes his music as being written in a language we already understand (realism) yet in an exaggerated manner (hyper) - I have to add that things on this album do not sound exaggerated at all. Moreover, i have the feeling that somehow on this work, Jan is trying to underwhelm us. In the best possible way. Because clouds float trough and dissolve. Thus instead of hyperrealism, is Jan maybe speaking to us in a certain Serenerealism? Or Mildrealism?

What Jan’s music does have in common with Creshevsky’s is the no rush part. Listening to Halki pilvien makes time non-directional. The music seems to be designed to be played over and over again. This music has no direct impact like one can experience at a punk show, or at a classical music concert. This music is not that one gigantic raincloud covering the world dark. Quite the opposite, it is a pattern of clouds and clearings, floating over the lands. Trough this music a shadow play appears. This music is durable.

And it is when the sounds are at its faintest, that Jan touches the core: in the smallest detail, we find the fullest musical information.

35. Jubiläumsfeier von MÖTLEY CRÜEs Nr. 1 in den Billboard Top 200 und 6-fach Platin-Album. Enthält
die Hit-Singles „Kickstart My Heart“, „Dr. Feelgood“, „Don’t Go Away Mad (Just Go Away)“, „Without
You“ und „Same Ol’ Situation (S.O.S.). CD und schwarze Vinyl-LP mit limitierter Auflage, neu gestaltetem
Cover und neu gemastertem Audio.

Mit fünf riesigen Hit-Singles, die die Wunsch-Hotlines von Radio und MTV überlasteten, war MÖTLEY
CRÜE auf der Dr. Feelgood World Tour über 2 Jahre lang mit ihrem eigenen Privatjet unterwegs und in
der Luft. Die erste Single „Dr. Feelgood“ mit ihrem sofort einprägsamen Anfang, dem eingängigen Refrain
und dem düsteren Musikvideo gab den Ton an und erreichte die Top 10 der US Hot 100 Single-Charts.
„Kickstart My Heart“ war bei seiner Veröffentlichung ursprünglich ein Top-30-Hit und entwickelte sich zu
MÖTLEY CRÜEs beliebtestem Meilenstein. Von der Kreissägen-Einleitung über den Cheating-Death-Text
bis hin zum Musikvideo, das bei einer seltenen Rückkehr zu einer Clubshow im weltberühmten Whisky-ago-go in Hollywood gedreht wurde, hat es mittlerweile weit über 1,5 Milliarden Streams verzeichnet und ist
fast täglich in Filmen, Werbespots, Videospielen und Sportveranstaltungen auf der ganzen Welt zu hören!

35. Jubiläumsfeier von MÖTLEY CRÜEs Nr. 1 in den Billboard Top 200 und 6-fach Platin-Album. Enthält
die Hit-Singles „Kickstart My Heart“, „Dr. Feelgood“, „Don’t Go Away Mad (Just Go Away)“, „Without
You“ und „Same Ol’ Situation (S.O.S.). CD und schwarze Vinyl-LP mit limitierter Auflage, neu gestaltetem
Cover und neu gemastertem Audio.

Mit fünf riesigen Hit-Singles, die die Wunsch-Hotlines von Radio und MTV überlasteten, war MÖTLEY
CRÜE auf der Dr. Feelgood World Tour über 2 Jahre lang mit ihrem eigenen Privatjet unterwegs und in
der Luft. Die erste Single „Dr. Feelgood“ mit ihrem sofort einprägsamen Anfang, dem eingängigen Refrain
und dem düsteren Musikvideo gab den Ton an und erreichte die Top 10 der US Hot 100 Single-Charts.
„Kickstart My Heart“ war bei seiner Veröffentlichung ursprünglich ein Top-30-Hit und entwickelte sich zu
MÖTLEY CRÜEs beliebtestem Meilenstein. Von der Kreissägen-Einleitung über den Cheating-Death-Text
bis hin zum Musikvideo, das bei einer seltenen Rückkehr zu einer Clubshow im weltberühmten Whisky-ago-go in Hollywood gedreht wurde, hat es mittlerweile weit über 1,5 Milliarden Streams verzeichnet und ist
fast täglich in Filmen, Werbespots, Videospielen und Sportveranstaltungen auf der ganzen Welt zu hören!

35. Jubiläumsfeier von MÖTLEY CRÜEs Nr. 1 in den Billboard Top 200 und 6-fach Platin-Album. Enthält
die Hit-Singles „Kickstart My Heart“, „Dr. Feelgood“, „Don’t Go Away Mad (Just Go Away)“, „Without
You“ und „Same Ol’ Situation (S.O.S.). CD und schwarze Vinyl-LP mit limitierter Auflage, neu gestaltetem
Cover und neu gemastertem Audio.

Mit fünf riesigen Hit-Singles, die die Wunsch-Hotlines von Radio und MTV überlasteten, war MÖTLEY
CRÜE auf der Dr. Feelgood World Tour über 2 Jahre lang mit ihrem eigenen Privatjet unterwegs und in
der Luft. Die erste Single „Dr. Feelgood“ mit ihrem sofort einprägsamen Anfang, dem eingängigen Refrain
und dem düsteren Musikvideo gab den Ton an und erreichte die Top 10 der US Hot 100 Single-Charts.
„Kickstart My Heart“ war bei seiner Veröffentlichung ursprünglich ein Top-30-Hit und entwickelte sich zu
MÖTLEY CRÜEs beliebtestem Meilenstein. Von der Kreissägen-Einleitung über den Cheating-Death-Text
bis hin zum Musikvideo, das bei einer seltenen Rückkehr zu einer Clubshow im weltberühmten Whisky-ago-go in Hollywood gedreht wurde, hat es mittlerweile weit über 1,5 Milliarden Streams verzeichnet und ist
fast täglich in Filmen, Werbespots, Videospielen und Sportveranstaltungen auf der ganzen Welt zu hören!

Seven Hours After Violet ist das bahnbrechende neue Projekt von Shavo Odadjian, Bassist der legendären
Multi-Platin-Band System of A Down; mit Taylor Barber (Left To Suffer), Morgoth (Platin-Produzent
und Gitarrist von Winds of Plague), AlejandroAranda (Scarypoolparty, American Idol) und Josh Johnson
(Winds of Plague).
”Dieses Album ist der Höhepunkt jahrelanger kreativer Erkundungen. Mit Seven Hours After Violet
wollte ich zu meinen Wurzeln in der harten Musik zurückkehren, aber auch etwas völlig Neues auf den
Tisch bringen. Es ist ein bisschen von SYSTEM OF A DOWN’s ’Toxicity’ auf dem ganzen Album – diese
Art von Scheiße. Du willst dir den Kopf einschlagen, du willst in die Grube rennen, du willst verrückt
werden, aber du willst lächeln, während du es tust, und nicht wütend sein.” - Shavo Odadjian

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

Ocean Grove is an electrifying force in the world of heavy music, blending elements of nu-metal, hardcore and alternative rock to craft a sound that is uniquely their own i.e. Oddworld Music. An eclectic trio of misfits spawning from Melbourne, Australia, OG has rapidly risen to prominence with their dynamic and genre-defying approach to music. Comprised of vocalist Dale Tanner, bassist/vocalist Twiggy Hunter, and drummer/producer Sam Bassal, OG have a ‘collective’ mentality in their approach to creativity, drawing upon their unique talents with a shared passion for inventive thinking that goes against uninspired standards and challenges musical norms. Since their inception, OG has captivated audiences with their high-energy performances and infectious melodies, earning them a devoted following around the globe. Their debut album, "The Rhapsody Tapes," released in 2017, garnered widespread acclaim for its ground-breaking sound and fearless experimentation. With influences ranging from Korn, N.E.R.D and Faith No More, OG create a sonic experience that is both visceral and thought-provoking. Their music transcends traditional genre labels, appealing to fans of metal, rock, and alternative alike. In addition to their musical prowess, OG is known for their visually striking aesthetics and imaginative artistic direction, further cementing their status as one of the most exciting bands to emerge in recent years. As they continue to push the boundaries of their craft, OG remains at the forefront of the alternative music scene, inspiring audiences with their fearless creativity and unwavering commitment to artistic integrity. With each new release, they defy expectations and solidify their position as one of the most innovative and compelling bands of their generation.

Not at all dangerous, but no less powerful and devoted to one another, the Coppola family have loomed large in film and the arts for decades.
The head of this particular family was not a Don lurking in the shadows, but a brilliant composer arranger and conductor: Carmine Coppola.
On the face of it, this album is a bit of a curiosity, though it was surely the first recording to bring together music from both Godfather films in this way.
Its original release coincided with a high-profile television event called The Godfather: A Novel for Television (also known as The Godfather Saga).

The extended cut necessarily featured additional music and arrangements, which were overseen by Carmine Coppola.
We can safely assume that at least some of that forms part of what is included in The Godfather Suite. For it, Coppola selected and re-arranged musical highlights from the two films,
including all of Rota’s main themes and his own source music pieces, creating what is essentially a 14-part symphonic suite.

It’s all rather beautifully executed, with great romantic flourishes, and it’s a fitting tribute to Carmine Coppola’s talent, not to mention his contribution to two legendary films.
Carmine Coppola himself passed away just months after the release of The Godfather Part III. A highlight of that final score is the ‘Love Theme’,
which was the basis of Carmine Coppola and lyricist John Bettis’s Oscar-nominated original song ‘Promise Me You’ll Remember’. The instrumental arrangement is included here in addition to the Suite.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

Ocean Grove is an electrifying force in the world of heavy music, blending elements of nu-metal, hardcore and alternative rock to craft a sound that is uniquely their own i.e. Oddworld Music. An eclectic trio of misfits spawning from Melbourne, Australia, OG has rapidly risen to prominence with their dynamic and genre-defying approach to music. Comprised of vocalist Dale Tanner, bassist/vocalist Twiggy Hunter, and drummer/producer Sam Bassal, OG have a ‘collective’ mentality in their approach to creativity, drawing upon their unique talents with a shared passion for inventive thinking that goes against uninspired standards and challenges musical norms. Since their inception, OG has captivated audiences with their high-energy performances and infectious melodies, earning them a devoted following around the globe. Their debut album, "The Rhapsody Tapes," released in 2017, garnered widespread acclaim for its ground-breaking sound and fearless experimentation. With influences ranging from Korn, N.E.R.D and Faith No More, OG create a sonic experience that is both visceral and thought-provoking. Their music transcends traditional genre labels, appealing to fans of metal, rock, and alternative alike. In addition to their musical prowess, OG is known for their visually striking aesthetics and imaginative artistic direction, further cementing their status as one of the most exciting bands to emerge in recent years. As they continue to push the boundaries of their craft, OG remains at the forefront of the alternative music scene, inspiring audiences with their fearless creativity and unwavering commitment to artistic integrity. With each new release, they defy expectations and solidify their position as one of the most innovative and compelling bands of their generation.

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae--Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer--remain. --Marc Greilsamer

John Prine's 2005 release, winner of the Grammy Award for Best Contemporary Folk Album.

John Prine's 2005 release, winner of the Grammy Award for Best Contemporary Folk Album.

John Prine's 1986 release, is available on LP from Oh Boy Records for the first time since its original pressings. Some classics on this one!

It's been over 25 years since The Missing Years was released to the world and we've decided that you folks deserve a new song and some sleek new packaging for this classic, Grammy award winning album! The Missing Years LP is now available with the previously unreleased track "The Third of July" and a great selection of pictures from John's time on the road, photo shoots and handwritten lyrics all from The Missing Years. This double LP record was pressed on 180 gram vinyl and includes liner notes and an MP3 download card.

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

Bei GRAPE stehen seit 2 Jahrzehnten eingängige, kompromisslose Power-Kracher mit meist nur 3-4 Akkorden auf der Tagesordnung. Die Jungs aus Landshut verschreiben sich seit jeher dem Punkrock der alten Schule, den man aus den späten 70ern und frühen 80er Jahren kennt. Dabei haben sie immer klar Stellung gegen Faschismus und Rassismus bezogen. Ein Muss für alle Fans von Ramones, Pistols, Cock Sparrer und The Clash! Klassisch schwarzes Vinyl, limitiert auf 300 Stück weltweit, nummeriert.

Lyrical polymath and spoken-word extraordinaire Emmeline blends genres and influences on this DVDinspired mixtape, released by Lewis Recordings. Citing both the ‘dark stream of consciousness’ and ‘early
influence of film, music, and literature’ on her creativity, West-Yorkshire born Emmeline takes us
through a musical and visual journey, of navigating her early 20s and a new move to London. Made in
collaboration with a range of exciting new production talent, such as Dom Valentino (Skepta, Greentea
Peng), John Foyle (FKA Twigs, Sampha), Cameo Blush and The Still Brothers.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

2024 Repress

"It was the beginning of 2016, I remember going down the stairs of that foggy Kreuzkolln basement. The floor was packed, the walls were sweaty, the air was so dense that you couldn't use a lighter. The vibe, I guess it can only be described as pure Herrensauna. I looked to the DJ booth and I saw this guy playing with records, in a heavy punk attitude, some 140 bpm (at least) dark tribal techno which I thought I was never gonna listen in a club.

-Who is he- I asked a friend, who was fully trapped in that pounding rhythm - I don't know some guys from Denmark - he replied, showing me with his body language that I should stop talking and enjoy the show. And so I did.

It didn't take me long to find out that this guy at the controls was known as Sugar but his name was Nikolaj. Neither that he was one of the founders of, what was going to be, one of the most influential collectives in the techno scene just a couple of years after that. Nor that these guys do this with the heart and that's why they are authentic.

Proudly presenting Fast Forward.
From Copenhagen, with love."

KAOS is a subdivision from OAKS
Compiled and selected by Hector Oaks.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

After leaving a huge mark in the techno scene with many high quality EPs on labels like Hayes, Klockworks and Planet rhythm, Portuguese mega talent Vil, finally releases his first long player on dolly's TS series! ''Birds Of Prey'' is a stunning mix of raw, percussive, groovy, distinct house and techno, with an elegant Detroit flavour. 8 tracks that lock you in on an impressive dancefloor journey where Vil shows his diversity as a producer. Switching effortless between the energy fields of deep melodic uplifting bliss and dark, out of the ordinary, groundbreaking drivers!!!

Continue to expect consistent groove-driven tracks, made for the dancefloor. Highlighting the freshest of talents, alongside producers who have been on the radar for a while.



Priku, also known as Adrian Niculae, is a renowned Romanian DJ and producer famous for his deep, minimalistic soundscapes coming with a fantastic 8:24 Minutes long Remix on 45 RPM.



pressed on limited colored marbled vinyl only

Red-Transparent LP + Bonus 7inch

Brainfeeder kündigt für den 16. Dezember 2022 die Wiederveröffentlichung des mittlerweile zu Kultstatus aufgestiegenen Debütalbums der Prog-Jazz-Future-Funkster von Hiatus Kaiyote, „Tawk Tomahawk“! Das Album, das ursprünglich 2013 erschien kommt in seiner Neuauflage auf Rot-transparenten Vinyl dem zusätzlich eine Bonus-7“ mit dem grandiosen Clever Austin Remix von „Boom Child“ und der Klassiker 'Nakamarra feat. Q-Tip' beiliegen.

An integral part of La Fine Equipe's famous La Boulangerie series, La Boulangerie II had never seen its Part 2 released on vinyl until now. That’s now a thing of the past thanks to this double LP!

Maai proudly presents a split EP featuring two distinguished Barcelona based talents. On the A side, the Peruvian trio of JJ Beteta, Alonso Bauer and Stefan Cukic delivers a dynamic array of tracks. "Layers" kicks off with an energetic blend of dusty breaks, setting the vibe for the EP. Following this, "Go The Data" takes over with its driving acid bassline, strong rhythm, for a dark and hypnotic vibe. The trio wraps up their side with "Wonky Afthermath," a subtle yet funky combination of deep, groovy elements and breaks that keeps the energy flowing.

On the B side, Canarian artist Javier Carballo, performing under his Look Perry alias, offers a captivating contrast. "I Can't Love U" introduces a track enriched with otherworldly pads and synths, creating an immersive sonic environment. The EP concludes with "Stone Pilots", which takes listeners on a smooth journey through intricate breaks, providing a perfect counterpoint to the A side’s energetic flair. This split EP showcases a rich tapestry of local talent and diverse electronic sounds.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

2 years after his critically acclaimed “Ultrachroma” album, Kangding Ray returns to ARA with a decisively dance- floor LP named “ZERO”.

As the artwork suggests, his different explorations and influences converge into one point on this record, where sound becomes a raw vibration, precisely engineered to bring bodies into movement.

This record marks both a return to the source of his sound in its purest shape, with hints of his debuts on the experimental label raster-noton, as well as the hypnotic journeys he is now for with his DJsets.

As an artist who is constantly reshaping his own sound in search of new forms, Kangding Ray offers here a singular take on modern dance music, driven by a visceral and futuristic approach.

“When an audio signal crosses the X-axis, there is an infinitesimal moment of silence.
ZERO is inspired by this quiet instant, a point of inversion where vibrations die and are reborn at the same time” . KR

James Brown had several incredibly talented funky divas in his late 60s and early 70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hitmaker of that funky JB era. Her strong voice and commanding stage presence - which earned her the nicknames The Female Preacher and Mama Feelgood - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Browns new People Records - the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers "Ain’t No Sunshine"; the socially progressive "Women’s Lib"; the Gamble & Huff-penned "Never Gonna Give You Up" (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. Throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.

Peggy Gou’s Gudu Records is proud to present the label’s first ever album, from someone who’s been part of the family since the start: Brain de Palma.

Born in Ukraine, settling as a child in Turin and spending three years in Egypt before settling in his current home of Berlin, Alexei Versino has one hell of a story.

Musically, he’s been around for a decade now, releasing his previous music (solo as Panama Keys, and also as one half of the duo Stump Valley) on labels like Dekmantel, Soul Clap and Off Minor, before settling on Gudu with his Brain de Palma alias. But personally, his relationship to music goes much deeper: as a young child growing up in the former Soviet Union, a lot of European music was banned, so he relied on his well-travelled uncle to bring him back smuggled cassettes of Italo Disco, Depeche Mode, Kraftwerk, Erasure and early DJ mixes – getting an illicit musical education behind closed doors as a child.

He still carries that underground mindset to this day: the press release for his last Gudu EP, Purple Brain, reads: “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”. The perfect candidate for Gudu’s first album, then.

Comprising eleven tracks made across the past year, Versino describes Rhythmption as “my redemption through rhythm”, and a tribute to “seeing people enjoying themselves on the dancefloor, that feeling of unity where people become one thing, regardless of their life path or social status.” Opening with the gorgeous ‘Thandolwami’ (featuring South African vocalist Sfiso Atomza), Rhythmption charts a path through sun-drenched Balearic house, stuttering drum work-outs, Italo-inspired synth romps, trancey house and even a touching tribute to his former home of Egypt, taking in every aspect of Versino’s journey to date. After all, it’s not all about the destination, it’s also the sights you see along the way.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

Underground house heavyweight **Enzo Siragusa** is back with a fresh offering, his highly anticipated new EP *Odyssey*, set to drop on **fabric Originals** this month. This marks another standout release for Siragusa, coming hot on the heels of his recent contribution, "Last E," to the *fabric Selects V* compilation, which landed earlier in October.

*Odyssey* features three meticulously crafted tracks that showcase Siragusa’s signature fusion of classic rave elements, deep grooves, and stripped-back house aesthetics. The title track "Odyssey" is a masterclass in his deep production style, while "95 Variant" leans into the artists UK influences. Perhaps the standout cut is "Listen," a nod to the golden era of speed garage, effortlessly blending bass-driven energy with Siragusa’s refined touch.

The EP is a natural evolution of Siragusa’s sound, one that continues to command respect across the underground scene. Known for his ability to channel a range of UK rave influences while remaining firmly forward-thinking, Siragusa’s work is consistently pushing the boundaries of what modern house music can achieve.

In support of the release, Siragusa will be returning to fabric with Enzo Siragusa Invites, where he’ll take control of the decks alongside a curated selection of top-tier talent. The event is set to be a fitting celebration of the new EP and promises to be an essential date in the London clubbing calendar.

CWPT welcomes Acopia to the label with a reissue of the cult Australian bands self-titled sophomore album, available on vinyl outside of Australia for the first time.

Based in Melbourne/Naarm, Acopia’s music is a careful control of tension and release, sparseness and warmth, momentum, and space. Across ten tracks, the band’s three members move across post-punk lamentation, shoegazing DnB, smoldering trip hop and subdued electronic pop, as they carve out their own hazy world of romanticism and restraint.

The highly anticipated follow-up to the band’s stellar 2022 debut, ‘Chances’, this is a deeply emotionally sensitive record, equal parts refined and relatable, and a listening journey that is immediately understood while revealing new layers with each subsequent listen.

Alongside the physical release of ‘Acopia’, CWPT will also release two digital-only remixes of the band, courtesy of Daniel Avery and JD Twitch.