Search:dav

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio. ‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet. Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion. You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet // “There is a rawness, both musical and emotional, proving that the simplest ways to communicate feelings are sometimes the most effective” Pitchfork // “More varied and ambitious than ever” Stereogum // Track List A1 The Roof (feat. Luke Temple & Rina Mushonga) A2 The Dance A3 Star Earring (feat. Lispector) A4 Alien (feat. Cass McCombs) B1 Black Metal Demon (feat. Frankie Cosmos & Merce Lemon) B2 Treehouse B3 Wait B4 The Light B5 Peer Peer

October 18, 1987 was a very special day for the two brothers - and star
jazz musicians - Michael Brecker and Randy Brecker
For years both had conquered the stages of the world together with their band
The Brecker Brothers and earned the reputation of being among the world's
leading jazz musicians on their instruments, the saxophone and the trumpet. On
that evening in the legendary Hamburg factory, both were on stage together for
the first time, each with their own band. 'Live at Fabrik Hamburg 1987' features
the top- class ensemble: Randy Brecker (trumpet), Bob Berg (saxophone), David
Kikoski (piano), Joey Baron (drums) and for the first time at the beginning of his
career Dieter Ilg (bass).
The other recording that features: Michael Brecker (saxophone), Mike Stern
(guitar) Jeff Andrews (bass), Adam Nussbaum (drums) & Joey Calderazzo (keys)
is available on a separate LP2. You will find both concerts together on the 2CD
set.
Quite simply historic concerts at a historic venue.
Randy Brecker writes about it: "These concerts were many years ago, and we
both were on long Euro tours of one nighters, so I think we both tried to put on the
best show we could, to outdo the other (in a good way!) Amazing to me how at
that point in time we were on different paths, I'd had that band with Berg, Kikoski,
Ilg and Joey Baron, for a while, acoustic, more "straight ahead" as we say, while
Mike was on uncharted territory with a new band...this might have been their first
Euro tour so the competition was on, at one of our favourite places to play:
'Fabrik' in Hamburg!...So let the games begin!"

Zwei Tracks aus dem aktuellen Album von The Mobile Homes werden von zwei der Größten der Szene geremixt: 'Once Upon A Time I Was Handsome', geremixt von Pete Gleadall & 'The Sorrow Stays For Good', geremixt von Albin Myers.
Pete Gleadall hat mit Künstlern wie den Pet Shop Boys, George Michael, David Bowie, Robbie Williams, Madonna, U2, Kylie und Take That gearbeitet.
Albin Myers ist bekannt für seine Remixe und Arbeiten mit Künstlern wie AVICII, Foo Fighters, David Guetta & ODZ, um nur einige zu nennen, aber
aber auch für seine eigene Musik, die weltweit über Millionen von Streams hat.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

Freestyle dig out another rarity in the form of a DIY brit-funk 7" from Highway Motion aka David Humphrey (a session drummer who played with Sparks, and with PiL on the iconic Metal Box LP & Death Disco 12"). Tinged with raw post-punk edge and 70s library music-style synth leads, this 45 is quite simply massive amounts of fun.

------------

David Humphrey's professional career as a drummer began aged 19 with Public Image Ltd, providing some of the drum tracks on their iconic Metal Box album and Death Disco single. Humphrey would then go on to work with Mike Oldfield and then Sparks, playing with the latter on their Number One Song in Heaven tour, Top of The Pops and recording sessions for Beat the Clock and Tryouts for the Human Race (those sessions were included and featured in Edgar Wright's recent film 'The Sparks Brothers).

In 1980, Clap Hands and Double O One Disco were recorded under the name 'Highway Motion' - intended by Humphrey as "raw experimental tracks" they were both laid down on a 4-track and subsequently released on the DIY Star Records imprint. Rough, grooving, candid and playful; these two tracks seem to somehow simultaneously meld the burgeoning brit-funk sound of the early 80s with a riotous post-punk edge, along with a good dollop of synth-led library music.

Following it's release David formed the group Reflex, recording and releasing the Funny Situation 7" in 1981 - forming the only other title in the Star Records catalogue. A more straight-up brit-funk dancer yet still pressed and sold in small quantities, Funny Situation became a sought-after record on the second hand collector's market, and finally saw reissue last September 2020 on the start-up Paint A Picture label - garnering plays from from Gilles Peterson on BBC 6 Music and Worldwide FM, StreetSounds radio and reaching No 1 in Juno records Chart. David has now started to working on new music using the name Davey H, and released his first new material in decades recently on Six Nine Records.

Italian legend Daniele Baldelli & DJ Rocca team up for ‘Cielarko’ on Gottwax this May.

Often mentioned in the same breath as DJing pioneers Francis Grasso, David Mancuso and Nicky Siano, Baldelli’s storied history includes his various long-running residencies, the most well-known being the legendary Cosmic club in Italy, and establishing the now world-renowned ‘cosmic sound’. Teaming up here with his regular production partner DJ Rocca, the duo reunite for four immaculately produced and colourful tracks for Gottwax Records, the record label from the UK’s Gottwood Festival.

Leading the release, ‘Blanka’ brings rolling low end and psychedelic synth work together with floaty yet punchy percussion for a mid-tempo trip. ‘Flava’ follows with sharp staccato drum hits and Italo disco inspired leads, making for a light and playful closer to the A-side. On the flip, ‘Verdeta’ brings twisted basslines, FX-laden licks and wonky drums for a fun and enjoyable track before ‘Helblua’ rounds out the release with light keys, chugging percussion, and catchy riffs.

rand new series of excellent chill compilations LPs from Wagram. Four themes to kick start the series – Brazilian/Lo-Fi/Jazzy/Acoustic. More titles are in the pipeline.

Ray Davies reifte als Songwriter, und hat ihren rauen
frühen British-Invasion-Sound mit anspruchsvolleren
Texten und einer durchdachten Produktion versehen.
Kinks Kontroversy ist voller kraftvoller Raver wie dem Hit
"Til the End of the Day" (der ein weiteres "You Really Got
Me"-artiges Riff verwendet) und das raue, von Dave
Davies gesungene Cover von "Milk Cow Blues", aber
aber auch Stücke wie das Calypso-Pastiche "I'm on an
Island". Weitere großartige Songs auf diesem
unterschätzten Album sind "Where Have All the Good
Times Gone?", die klagenden Balladen "Ring the Bells"
und "The World Keeps Going Round" sowie die von Dave
Davies gesungene Unabhängigkeitserklärung "I Am Free".

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

White Vinyl

To celebrate the 30 year anniversary of Shakespears Sister’s seminal album ‘Hormonally Yours’,London Records have announced special edition releases across multiple formats.
A double platinum and top 3 UK album ‘Hormonally Yours’ secured Siobhan Fahey and Marcella Detroit a place in British pop history, spawning the single Stay - which spent a staggering eight consecutive weeks at the top of the UK charts - and winning the duo an Ivor Novello Award for Outstanding Contemporary Song Collection.
‘Hormonally Yours’ also features singles ‘Goodbye Cruel World’ and ‘I Don’t Care’, tackles friendships gone wrong on ‘My Sixteenth Apology’, powerful, dangerous attraction on ‘Emotional Thing’ and documents a friend’s coming out on ‘Are We In Love Yet?’ Fan favourite ‘The Trouble With Andre’, the full-throttle glam-blues of ‘Cat Woman and glorious finale ‘Hello (Turn Your Radio On) is the album’s glorious finale: an exhalation; a glorious, earth-shuddering moment that recalls the epic melancholy of David Bowie’s ‘Five Years’ and The Beatles’ ‘A Day In The Life’.
Shakespears Sisters second LP, Hormonally Yours, provided the perfect encapsulation of Shakespears Sister’s musical ying and yang; a deftly delivered balance of pop melody with a spikey alternative darkness

Acht neue Songs von Okkervil River Frontmann Will Sheff. Produziert von John Congleton (St. Vincent, The War On Drugs), Matt Linesch und Marshall Vore (Phoebe Bridgers). Ein bemerkenswertes Album und Sheff’s Solodebüt.

Inspiriert von den Texten von King Crimson, Joni Mitchell oder Bill Fay sowie den Bergen, Wüsten und Seen Südkaliforniens, seiner neuen Wahlheimat, jedoch überschattet vom Tod seines Freundes, Okkervil River-Drummer Travis Nelsen, besticht 'Nothing Special' mit teils verspulten Arrangements, die subtile Überraschungen enthalten und Verweise nahelegen auf barocken Pop, verschwommene Synthie-Balladen und Sci-Fi-Psychedelia der 70er und 80er Jahre. Eine emotionale Reise, die von Trauer und Verlust handelt und dem Versuch, sich einer transzendenteren Realität zu öffnen.

Unterstützt wird er dabei von alten und neuen Freunden, Gitarrist Will Graefe und Bassist Benjamin Lazar Davis, Singer/Songwriter Christian Lee Hutson, Dawes-Schlagzeuger Griffin Goldsmith und Death Cab For Cutie-Pianist Zac Rae sowie Cassandra Jenkins und Eric D. Johnson (Fruit Bats, Bonny Light Horseman).

Acht neue Songs von Okkervil River Frontmann Will Sheff. Produziert von John Congleton (St. Vincent, The War On Drugs), Matt Linesch und Marshall Vore (Phoebe Bridgers). Ein bemerkenswertes Album und Sheff’s Solodebüt.

Inspiriert von den Texten von King Crimson, Joni Mitchell oder Bill Fay sowie den Bergen, Wüsten und Seen Südkaliforniens, seiner neuen Wahlheimat, jedoch überschattet vom Tod seines Freundes, Okkervil River-Drummer Travis Nelsen, besticht 'Nothing Special' mit teils verspulten Arrangements, die subtile Überraschungen enthalten und Verweise nahelegen auf barocken Pop, verschwommene Synthie-Balladen und Sci-Fi-Psychedelia der 70er und 80er Jahre. Eine emotionale Reise, die von Trauer und Verlust handelt und dem Versuch, sich einer transzendenteren Realität zu öffnen.

Unterstützt wird er dabei von alten und neuen Freunden, Gitarrist Will Graefe und Bassist Benjamin Lazar Davis, Singer/Songwriter Christian Lee Hutson, Dawes-Schlagzeuger Griffin Goldsmith und Death Cab For Cutie-Pianist Zac Rae sowie Cassandra Jenkins und Eric D. Johnson (Fruit Bats, Bonny Light Horseman).

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

'Sieg der Vernunft' - Knorkator betreten dünnes Eis!

Knorkator bereichern Deutschlands Kulturlandschaft seit über 25 Jahren mit humorvoller, intelligenter und druckvoller Musik. Immer schon stilübergreifend, gelten sie inzwischen als eine Kategorie für sich mit einer großen, treuen Fanbase. Doch während sie sich bisher aus allzu aktuellen Themen raushielten, ist ihr mittlerweile zehntes Studioalbum 'Sieg der Vernunft' deutlich bissiger, engagierter und aktueller als die Vorgänger. Es geht darin um das Schwinden unserer gemeinsamen Ziele und Werte, unsere Unfähigkeit, darüber zu reden und um jene, die davon profitieren. Doch keine Sorge - Knorkator zeigen immer noch eine große Freude an unbedarftem, infantilem Nonsens in pathetischem Gewand.

- LP (schwarzes Vinyl, 180g)

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

Long time supporters of Kniteforce will be well aware of the truly amazing series, Remix Records & Kniteforce presents ‘The Remix’s’, and here we have Part 17! All the records in this series are insanely good and this EP does not disappoint. To start we have the mighty Bay B Kane taking one of Phuture Assassins newer tracks and turning it into an amazing jungle track, using the original vibe and cranking it up to the maximum with a proper early Bay B Kane style. Next is an absolutely mental remix from Heavy Systems Inc. of an already mental track! One of NRG’s most insane tracks gets the rough and raw treatment that HSI is known for, drawing on the underground sound of 1992. The action doesn’t stop on the other side either! The living legend that is Austin takes an already hugely popular track from Sunny & Deck Hussy and absolutely sprinkles it with awesome. This is Austin at his best, and it shows how he has not missed a step in 3 decades of music production. Rounding out this installment is The BradderCase remix of Stu Chapman’s Rude Boy. The duo of BradderCase, aka Paul Bradley and The Lowercase, took this Stu Chapman track and flipped it on its head. Extracting the energy from the original and lighting a fire under it, showing that hardcore can be fun and serious at the same time.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

The Sandman ‘Psychosis’ EP is one of the most original and unusual records ever to grace the early rave scene. Indeed, when listening to it now, you can hear that this is almost a template for what trance music would become, even though this EP is full on breakbeat madness. An underground classic and favourite of many producers, this repress changes hands for serious money even when used, and is, quite simply, a lovingly remastered and unmissable slice of rave history!

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

Dreamers is the new project from the legendary British saxophonist and composer Mark Lockheart featuring Elliot Galvin (Dinosaur, Elliot Galvin Trio), Tom Herbert (Polar Bear, The Invisible) and Dave Smith (Robert Plant). Stylistically free and psychedelic in nature, the release of Dreamers signals a new trajectory for the musician who has already featured on a wide ranging and diverse catalogue of albums including Radiohead's Kid A. As a founding member of Loose Tubes and Polar Bear, Mark Lockheart has always remained ahead of the curve and has constantly explored new directions in his own music. Dreamers epitomises this adaptation and evolution, allowing the music to speak beyond the boundaries of genre and predictability. Mark has created an album which is direct and unpretentious but also surprising and unexpected.

Something Else bietet 13 klassische britische Popsongs
von The Kinks. Diese konzentrieren sich auf nostalgische
und sentimentale Themen und ziehen sich von den
psychedelischen und modischen Haltungen, die die
Rockwelt beherrschten etwas zurück. Something Else
klingt wie nichts anderes aus dem Jahr 1967. Die Kinks
schalten auf diesem Album einen Gang zurück und
bevorzugen akustische Balladen, Dancehall-Nummern und
gemäßigten R&B. Von dem martialischen stampfenden
"David Watts" bis zum lieblichen, schimmernden
"Waterloo Sunset" gibt es keinen schwachen Song auf
der Platte. Und ebenso beeindruckend ist das Auftauchen
von Dave Davies als Songwriter. Sein dylaneskes "Death
of a Clown" und der
bluesige Rocker "Love Me Till the Sun Shines" können
mit Rays Meisterwerken mithalten und tragen dazu bei,
dass Something Else zu einem faszinierenden Album
geworden ist.

Kinda Kinks ist das zweite Album der englischen Rockband the Kinks, das 1965 veröffentlicht wurde. Aufgenommen und veröffentlicht innerhalb von zwei Wochen nach der Rückkehr von einer Tournee in Asien. Das Album ist ein großer Schritt nach vorne in der Fähigkeiten von Ray Davies und der Band. Sie sicherten sich einen ersten Platz in den britischen Single-Charts mit "Tired of Waiting for You", das gesamte Album stieg auf #3. Ursprünglich veröffentlicht von Pye in Großbritannien am 5. März 1965 und jetzt von BMG auf schwerem
schwarzem Vinyl im Jahr 2022 wiederveröffentlicht.

Das Album enthält auch die Kult-Lieblingsstücke 'Look For Me Baby", "Come On Now", "Something Better Beginning" sowie sowie "Nothin' in This World Can Stop Me Worryin' 'Bout That Girl", mit dem sie in Sachen Ernsthaftigkeit ganz vorne in der der British Invasion in Bezug auf Ernsthaftigkeit und Komplexität, vor vor den Beatles oder fast allen anderen Mitbewerbern Konkurrenten Anfang 1965, aber das hinderte sie nicht dara zum bluesigen "Naggin' Woman" überzugehen.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Der Soundtrack zur erfolgreichen BBC-Fernsehserie ‚Around The World In 80 Days‘, komponiert vom legendären Filmkomponisten Hans Zimmer, dem Komponisten von ‚Bleeding Fingers‘, Christian Lundberg, und dem Produzenten Russell Emanuel. David Tennant spielt den unwahrscheinlichen Weltenbummler Phileas Fogg, der sich auf den Weg macht, in 80 Tagen um die Welt und wieder zurück zu reisen. Zusammen mit seinen Begleitern Abigail Fix (gespielt von Leonie Benesch) und Passepartout (gespielt von Ibrahim
Koma) versuchen sie das fast unmögliche Unterfangen, den Globus in 80 Tagen zu umrunden.

First released in the summer of 1966, ‘Yardbirds’ (or ‘Roger The Engineer’ as it became known’) showcases the
Yardbirds at the peak of their powers. Featuring the classic line-up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja,
and Paul Samwell-Smith, the group explored explosive new sonic territories, pushing their blues-rock sound into the
realms of the avant-garde, psychedelia and Indian music.
• This new edition has been expertly cut from the original stereo tapes using precision half-speed mastering by
Cicely Balston at AIR Mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating
an incredibly detailed stereo image with a natural high frequency response.
• Pressed on 180g heavyweight vinyl, featuring an obi strip and housed in a poly-lined inner sleeve. Also includes a
4-page booklet with extensive liner notes by David French based on interviews with Jimmy Page, Paul SamwellSmith, Jim McCarty and Simon Napier-Bell.

Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK.

Their latest long play takes its name from the solar deity of the slavic pantheon, Dazhbog - the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. We can find cycles in nature, music and life itself can be thought of as a cycle, from the micro to the macro scale.

As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog’s music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo’s influences, from the obvious portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of north-american jazz and psycho-acoustic hallucinations and the hash transients of electronic music.

Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of 8 tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences. The album will come out on vinyl in late March, in time for the pagan celebration of Spring and Fertility.

Das karriereübergreifende Best-Of Album „Exorcising Ghosts“ von Japan wird am 7. Oktober wiederveröffentlicht.

Das Album wurde gemeinsam mit David Sylvian zusammengestellt und produziert und wurde von Miles Showell in den Abbey Road Studios in halber Geschwindigkeit neu gemastert. Auf dem Album sind unter anderem die Songs “A Foreign Place”, “Life Without Buildings” und der erweiterte 12“-Mix der 1981er Single ”The Art Of Parties” enthalten.

Das Album erscheint als 2LP.

Book of Psalms, the first ever release on the Kibir La Amlak label back in 2010. Originally voiced by Reality SoulJahs as an exclusive dubplate for Kibir La Amlak and Reality Sound System. However the You Tube video clip of the vibes in the studio received so much attention that it was decided to take the mixes back into the studio re-lick the rhythm track and put it out for release. After a session with the veteran bass and guitar player Jerry Lions (Lee Perry, Jah Shaka, Mad Proffesor) and the UK's most recorded bongo player Jonah Dan (Disciples, Inner Sanctuary) the Book of Psalms rhythm took on a new lease of life. It was then re voiced in the Kibir La Amlak studio and then taken to the mixing desk for some old school style dub mixes.

The first is the original, soulful yet bouncy and uptempo vocal piece 'Book of Psalms' from the Reality Souljahs. The vocal is a recital of Psalms 1 and Psalms 2 with a chorus that is so catchy you will find yourself still singing it days later.

This is followed by 'Meditation Dub' a dub mix of the vocal, flashing little pieces of vocal in and out with heavy delay and reverb giving the rhythm track a chance to shine through in between.

Then to offer another flavor 'Psalms 87:7' with the wonderful melodies of Ilodica as he makes his

melodica sing away in tune to the rhythm track.

Followed by 'King David Dub' a raw drum and bass centered dub mix, which shows off the bass playing skills of Jerry Lions and the razor sharp timing of Jonah Dan's bongo playing mixed and blended over the top of the steppers drum beat.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

Black & White Splatter Vinyl

To celebrate the 30 year anniversary of Shakespears Sister’s seminal album ‘Hormonally Yours’,London Records have announced special edition releases across multiple formats.
A double platinum and top 3 UK album ‘Hormonally Yours’ secured Siobhan Fahey and Marcella Detroit a place in British pop history, spawning the single Stay - which spent a staggering eight consecutive weeks at the top of the UK charts - and winning the duo an Ivor Novello Award for Outstanding Contemporary Song Collection.
‘Hormonally Yours’ also features singles ‘Goodbye Cruel World’ and ‘I Don’t Care’, tackles friendships gone wrong on ‘My Sixteenth Apology’, powerful, dangerous attraction on ‘Emotional Thing’ and documents a friend’s coming out on ‘Are We In Love Yet?’ Fan favourite ‘The Trouble With Andre’, the full-throttle glam-blues of ‘Cat Woman and glorious finale ‘Hello (Turn Your Radio On) is the album’s glorious finale: an exhalation; a glorious, earth-shuddering moment that recalls the epic melancholy of David Bowie’s ‘Five Years’ and The Beatles’ ‘A Day In The Life’.
Shakespears Sisters second LP, Hormonally Yours, provided the perfect encapsulation of Shakespears Sister’s musical ying and yang; a deftly delivered balance of pop melody with a spikey alternative darkness

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

'WINGS' is taken from THE INVISIBLE's album 'RISPAH', and comes with an exquisite remix from Floating Points !
While the lead track from Mercury Nominated indie-electronic mopey types The Invisible is a goodun, our money's on the phenomenal remix from the ever on-form Floating Points. Taking the crunchy drum-machine rhythm, tape hiss and guitar jangle from the original, Sam Shepherd reconfigures the track into a near eight-minute opium opus, whimsical synths and all. Funnily enough Dave Okumu's haunting vocals sound even more focused here as Shepherd tranforms them into a ghostly memory, reframing them as a complex recollection of loss. It's harrowing and beautiful stuff

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

A beautiful continuity in the exploration of the composer "Grand David" known for his sound illustrations but here accompanied on the entire project by the female singer Emma Lamadji. A talented project and an immersion into TAMLA MOWTON sound, by Grand David, the "touche à tout" wizard!

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• FEATURING JILL SCOTT, WYCLEF JEAN, GARY BARTZ, JAMILA WOODS, KASSA OVERALL, TEEDRA MOSES A.O.
• BRAND NEW 2022 ALBUM BY GRAMMY NOMINATED
JAZZ MUSICIAN THEO CROKER
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON SOLID GOLD COLOURED VINYL

Love Quantum is the seventh studio album by Grammy Award nominee Theo Croker since his 2007 debut. The album finds Croker making his first-ever foray into the concept of love, once again inviting listeners on a genre-defying journey across time and space in discovery of the self and our shared human experience. Of the album, Croker says, “It's a love story. It's a tribute to all the different levels of love that can exist - love of a friend, love of a partner, love of a parent, love of yourself and a love of life. It's really about the journey of love, the experience of it, and how powerful that energy is for us as human beings.”

Joining Croker across the album's 11 tracks are Jill Scott, Jamila Woods, Wyclef Jean, Ego Ella May, Teedra Moses, Chris Dave, Gary Bartz, James Tillman and Kassa Overall.

Love Quantum is available as a limited edition of 1000 individually numbered copies on solid gold coloured vinyl. The album is housed in a gatefold sleeve and includes an insert with liner notes.

LAUNCH EVENTS Sept 2nd - Film premier at the David Lean Cinema in Croydon with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. An 18 track compilation featuring the best of Croydon's punk and post punk scene! Are They Hostile? Is a new documentary film about the Punk, New Wave and Indie scene in Croydon in the late ‘70s and early ‘80s. It takes its name from the first single by Croydon band Bad Actors. To coincide with the film’s release Damaged Goods Records are releasing a compilation vinyl LP and CD featuring bands from in the film including Johnny Moped, The Marines, The Daleks, Case, Fanatics and also bands such as The Straps who played Croydon many times usually at The Star Pub in West Croydon. The CD version also features a specially recorded introduction by the legendary ex-Croydon Greyhound DJ Peter Fox. It’s been argued that Croydon was the birthplace of Punk in the UK, largely due to The Damned and Johnny Moped. But there was a group of other, less well-known bands who were part of that scene, or who came just after, but who didn’t achieve the same success or recognition. The film and album attempt to set the record straight by shining a light on bands such as Bad Actors, Case, The Daleks, The Heroes and Fanatics. the music still fizzes with the energy and enthusiasm of youth and the punk ethos of just doing it. And the participants, if a bit older and slightly less slim than forty years ago, come alive in the current interviews as if connected to the mains. As the saying goes, “old punks don’t die”, but they do remember. The documentary film takes us through the history of these bands, the people in them, the places they played and, through current interviews with “a bunch of old punks”, what they did next, and how formative and important being in a band was for them growing up. The film is the brainchild of Bad Actor Griff Griffiths and Mark Williams and will premier at the David Lean Cinema in Croydon on 2nd September with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. Griff explains: “It’s also a film about being young, being passionate, being part of something.” TRACKLISTING 1 – Bad Actors – Are the Hostile? 2 – Johnny Moped – Groovy Ruby (Live at the Roxy) 3 – The Marines – Step This Way 4 – Slime – Controversial 5 – Case – Smiling My Life Away 6 – The Daleks – Tiny Town 7 – Fanatics – Total Confusion 8 – The Straps - New Age 9 – The Heroes – Tarzan 10 – Bad Actors – One Of Us 11 – Johnny Moped – Incendiary Device (Live at the Roxy) 12 -The Marines – Pleasure Business 13 – Slime – Loony 14 – Case – I Don't Wanna Kill The Whales 15 - The Daleks - Rejected16 – Fanatics – When The Sun Goes Down 17 – The Straps – Brixton 18 – The Heroes - Russia

"Sir Andrew Davis lebt und atmet diese Musik so, wie
sie ihm in die Wiege gelegt wurde, und nimmt sein
geliebtes BBC Symphony Orchestra mit auf eine
bewegende Reise von der schattigen Dunkelheit zum
strahlenden Licht. Mit ihrem prächtigen Klang ist dies die
mit Abstand beste "moderne" Version im Katalog."
Gramophone

• On Vinyl for the very first time, the debut solo album from ex Virgin Prunes vocalist • Remastered for vinyl • New artwork • Virgin Prunes catalogue is now being issued by BMG with Benelux & France being a stronghold for fans • Limited to 450 copies Side 1: 1. Loaded in a Crazy Dream of Hell 2. Sick for Her Love 3. Trapped in A Web 4. Cry Like a Rainy Day 5. Lost in The Ozone 6. Oh, Sweet Baby 7. Wedding Day Side 2: 1. Sol Sunset 2. The Night the Rain Pissed Down 3. Rainy Day (Reprise) 4. Mother Forgive Me 5. Man Falls Down 6. Kiss Before Betrayal 7. Who Wants To Look Like Dave-id?

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

Over recent years, there have been countless reissue of reggae-disco rarities and slept-on classics. Soul Jazz has, surprisingly given that they first dipped into the style 20 years ago on the now legendary Reggae Disco Hustle compilation, been surprisingly silent, so it's nice to see them joining the party in fine style. Disco Reggae Rockers is a fitting sequel to its illustrious predecessor, featuring as it does a wealth of killer covers of - and more adventurous 're-versions' inspired by - vintage soul, disco and funk tunes. The plentiful highlights include Devon Russell's inspired take on Curtis Mayfield's 'Move On Up', Risco Connection's super-sweet version of Diana Ross classic 'It's My House', Valerie Harrison's interpretation of Me'lissa Morgan's 'Fools Paradise' and Hortense Ellis re-frame of Candi Staton hit 'Young Hearts Run Free'.

Triple LP featuring Live and studio tracks from between 1975 and 1993, and a runtime over 135 minutes.

Featuring appearances by:
Dave Gilmour, Andy Sheppard
Danny Thompson, Paul Kossoff,
Phil Collins amongst many others

First time reissue of one of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. Grupo Pan was led by Carlos "Nené" Quintero, former member of Los Dementes, Ray Pérez's group, and through this record he aims to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. This reissue includes original artwork, liner notes and exclusive photos. 180g vinyl Grupo Pan was formed in 1970 in the popular Caracas neighborhood of Marín at the initiative of Carlos "Nené" Quintero together with his brother Jesús "Chú" Quintero. His experience as a professional musician as part of Los Dementes, Ray Pérez's group, would allow him to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. The band would be completed with Alfredo Padilla (percussion), David Azuaje and Carlos Guerra (trombones), Henry Camba (trumpet) and Rubén "Micho" Correa (electric guitar), already with a solid reputation as a guitarist after years playing in rock bands. Nené Quintero would resume contact with his acquaintance Mario Tepedino, at that time artistic director of 2001 Juvenil, a Venezuelan tv show focused on the promotion of young musical values, who would offer them to appear on said program. Through the popularity provided by their frequent television appearances, they were offered the opportunity to record an album. In December 1970 their first and only LP would release, recorded at the Fidelis studios in Caracas and produced by Mario Tepedino. It was published by Souvenir, a label responsible for the release of many other essential Venezuelan rock albums, such as the highly sought-after records by The Love Depression or Ladies W.C. "Pan" successes in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. All the songs on the album are written by "Nené" Quintero himself and remain as fundamental milestones in the history of Venezuelan rock. The album would contribute to the birth of a new paradigm of Latin rock, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. After this Souvenir release, the band would also record two singles on another label called Promus. Grupo Pan would remain active until 1973 when the band members would follow different paths. "Pan", their only LP, has become one of the essential and most sought-after Venezuelan albums, and we are pleased to now be able to present the first-time reissue, including liner notes and exclusive photos.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

REISSUE

2004 saw the release of Monster Magnet’s sixth studio album Monolithic Baby, the follow-up to 2000’s “God Says No”, which cemented the Red Bank, NJ rockers in the world of space rock and roll. This 14-track journey of masterful hard rock features 11 ripping originals and three cover songs recorded in true classic Magnet style, including covers of The Velvet Underground, David Gilmour and Robert Calvert. Monolithic Baby is being reissued on August 19th via Napalm Records on orange vinyl with white and black splatter, as well as in a limited glow in the dark vinyl variant! Don’t miss the album Ultimate Classic Rock calls “a revitalized, fire-breathing Monster Magnet” and All Music calls “another collection of undeniably Wyndorfian tunes.”

Greet Death is a four piece shoegaze band from Flint, Michigan. "New Low" is a new 5 song 12"EP from Greet Death. The first four singles from this session were released digitally over a span of months in 2021 into 2022, leaving the title track exclusive to this final collection. With "New Low" Greet Death continue to explore the layered melancholic atmosphere they are known for while expanding into unconventional melodic territory. Produced by Greet Death Engineered and mixed by J. Kalmink at The Stooge in Zeeland, MI Mastered by Will Yip Music and Lyrics by Logan Gaval and Sam Boyhtari Vocals by Gaval and Boyhtari Drums and Percussion by Jim Versluis Guitars and Bass by Gaval and Boyhtari Piano by Boyhtari Photos by David Beuthin Scythe Logo by Liam Rush Original Band Logo by Brendan Coughlin Design by Jacob Bannon

Der Grammy Gewinner Sammy Hagar veröffentlicht mit seiner Gruppe The Circle am 30. September das
neues Album „Crazy Times“
”Crazy Times”, das zweite Album der Band, ist der Nachfolger ihres viel gelobten Debüts ”Space Between”,
das in mehreren Kategorien Platz 1 der Billboard-Charts erreichte. Das neue Album enthält zehn Songs
und eine bemerkenswerte Coverversion, ”Pump It Up”, ein Song von Elvis Costello and the Attractions aus
dem Jahr 1978. Das Album wurde mit dem Produzenten Dave Cobb aufgenommen, der das Beste aus
Sammy Hager & The Circle geholt hat.
Das Album „Crazy Times“ erscheint als 1CD und am 28. Oktober dann auch auf Vinyl.

In a collaboration you might never have expected but somehow makes perfect sense, original Brit blues mastermind Jeff Beck teams up with a little known American by the name of Johnny Depp to render some of the latter's songs alongside some finely selected covers. From The Beach Boys to John Lennon, The Velvet Underground to Killing Joke and more besides, this is the sound of two lifelong music lovers letting it all hang out and playing with the impassioned energy and innocence of youth. More than just a throwaway side project for a global superstar, this is a deeply discerning project which frames Depp's music in a whole new light.

Jeff Beck and Johnny Depp tapped into the frustration of living through the pandemic in 2020 with their well-timed cover of John Lennon’s “Isolation.” The Grammy winning guitarist and Hollywood Vampires co-founder are back with their first album together, appropriately titled, JEFF BECK AND JOHNNY DEPP. On the new record, Beck’s first studio effort in six years, the artists coax unexpected performances from one another on 11 covers and two originals that touch on everything from Celtic and Motown to John Lennon, the Beach Boys and The Velvet Underground.

The result is a wild roller coaster ride through different genres where hairpin juxtapositions deliver some of the album’s biggest thrills. A remarkable example comes early on when the industrial stomp of Killing Joke’s “Death And Resurrection Show” gives way to the intense heartache of Dennis Wilson’s “Time.” Each performance stands on its own, but the sharp contrast created by sequencing them together heightens the emotional impact of both songs.

The duo recorded most of the album in Beck’s studio over three years while Depp lived on and off in the guitarist’s English cottage. Robert Adam Stevenson co-produced several tracks on the album and engineered many of the sessions remotely from Depp’s studio in Los Angeles. When the basic tracks were finished, they were fleshed out by musicians who’ve played with Beck through the years, including drummer Vinnie Colaiuta and bassist Rhonda Smith.

The album title will be “18.” The cover illustration (attached) was done by Jeff’s wife, Sandra and pictures them when they were both 18. Here’s Jeff’s comment on the title from the PR: Beck explains the album title: “When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too.”

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

Auf ‚Hurt & The Merciless' bannt das britische Soul/Rock Quartett The Heavy den Spirit ihrer gefeierten Liveperformances auf Platte!

The Heavy haben während der Vorbereitungen zu - Hurt & The Merciless', ihrem nunmehr vierten Album, schwere Zeiten durchlebt. Als wollten sie ihrem Bandnamen alle Ehre machen. Scheidung, Trennungen und alles, was der Alltag sonst noch an Steinen ins Flussbett des Lebens wirft, konnte die Band aus dem englischen Bath jedoch nicht davon abhalten, ihr bislang aufgedrehtestes und aufgekratztestes Album einzuspielen. Kelvin Swaby, Gitarrist Dan Taylor, Bassist Spencer Page und Drummer Chris Ellul hatten für das Album ein erklärtes Ziel: Sie wollten endlich den phänomenalen Furor ihrer Liveshows eins zu eins ins Studio übertragen. Tatsächlich lässt es das Quartett richtig krachen und die pure Rock'n'Roll gewordene Lebensfreude dringt hier bei jedem Song, jeder Performance durch die Poren.
Im Jahr 2009 war der Band mit der monströs guten Single - How You Like Me Now' der internationale Durchbruch gelungen. Wie populär der Song schließlich wurde, zeigte sich auch daran, dass er auf etlichen Filmsoundtracks, in Fernsehserien, Games und Werbespots auftauchte. - Hurt & The Merciless' markiert in seiner nahtlos verzahnten Mischung aus Rock'n'Roll-Klassizismen, Funk- und Soul-Grooves sowie feinen Zusätzen experimenteller Klangelemente den vorläufigen Höhepunkt im Schaffen dieser Band. Das Feuer ihrer Liveshows haben sie in ein knappes Dutzend ihrer bis dato besten Songs infiltriert. Sie klingen fürwahr gnadenlos gut. The Heavy dürften mit diesem furiosen Opus mehr denn je schwer angesagt sein.

New album by Steamhammer - British blues-rock band STEAMHAMMER
was formed at the end of 1968 by Martin Quittenton (guitar), Kieran White
(vocals, harmonica, guitar), Martin Pugh (guitar), Steve Davy (bass) and
Michael Rushton (drums)
Their first album "Reflections" (AKA "Junior's Wailing") was released in 1969. Pete
Sears played piano on this album before he joined Rod Stewart on his four early
classic recordings. Pugh also played on Rod Stewart's first solo album, "The Rod
Stewart Album" (AKA "An Old Raincoat Would Never Let You Down") with Ron
Wood, Mickey Waller, Martin Quittenton and Keith Emerson. After "Reflections",
Quittenton and Rushton both quit the band to be replaced by Mick Bradley
(drums) and Steve Joliffe (sax, flute), who gave a jazzy influence to the band in
their second album, "Mk. II" (1969). Shortly after this release, Joliffe left the band,
which continued as a 4 piece in their third album "Mountains" (1970), which was a
returning to the blues- rock of the first album. After a major turnover, Pugh and
Bradley invited Louis Cennamo (bass) and, along with special guest Garth WattRoy (vocals), recorded "Speech" in 1971. This last album was released
posthumously, after Bradley's death in 1972.Now, exactly 50 years after the
release of "Speech" and 53 years after Pugh and Sears collaborated on the band's
first LP, Steamhammer will release a new album, "Wailing Again". Featuring beside
1968 founder member Martin Pugh (guitars) and Pete Sears (bass, keys &
background vocals), member of Jefferson Starship from 1974 to 1987, Manfred
Mann's Earth Band - drummer John Lingwood, who joined Steamhammer in 1972,
and Phil Colombatto (vocals & harmonica).

Gold Vinyl

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

"The whole point of this record was to share every emotion that I feel," sagt THE SOFT MOON aka Luis Vasquez. "No two songs are the same. It's about existing in the world as a human being and experiencing many emotions and experiences throughout life." Daher auch der Titel "Exister", ein Album, das von den ekstatischen Freuden und lähmenden Tiefen des Lebens handelt und davon, dass das Durchhalten und die Existenz manchmal alles ist, was wir haben. Der Grund, warum das Album für Vasquez so persönlich ist, liegt darin, dass sich sein Leben während der Entstehung des Albums stark verändert hat. Er verließ Berlin, sein langjähriges Zuhause, und zog in den Joshua Tree, um während des Lockdowns musikalisch und persönlich etwas Freiraum zu finden. Es fühlt sich wie eine Art musikalischer Neustart für Vasquez an. Das Cover des Albums zeigt ein Foto von Vasquez als Kind und steht stellvertretend für eine Platte, bei der es darum ging, sich wieder mit seinem jüngeren Ich zu verbinden, wobei eine Mutter-Sohn-Beziehung im Mittelpunkt des Albums steht. "It's my child self that you hear all over it," sagt er. "I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet." Doch trotz des Schmerzes, der Wut, der Verletzlichkeit und des Schmerzes, die im Kern dieser Platte zu finden sind, gibt es auch ein tiefes Gefühl von Hoffnung und Schönheit. Auf dem abschließenden Titel-Song "Exister" scheint das Album einen Ort des Friedens und des Trostes zu erreichen und endet mit einem ruhigen, nachdenklichen und ergreifenden Moment, der ein Gefühl des Optimismus nach einer Zeit des Umbruchs einfängt.

Collettivo Immaginario invites listeners on a glittering journey of cosmic escapism with the release of Trasforma, their debut album out September 23 on LA-based label, Domanda Music. The instrumental collective was founded in Northern Italy by drummer Tommaso Cappellato, bass player Nicolò Masetto and pianist Alberto Lincetto as a creative laboratory in which to explore the worldly musical influences that inspired them. Through experimentation that draw on the traditions of eclectic jazz, funk and electronica, Trasforma distills the ebullient energy of the trio’s acclaimed live performances into a lush and cinematic studio album, subtly paying homage to genre-bending giants such as Azymuth, Lonnie Liston Smith, Herbie Hancock and Italian film composers Piero Piccioni and Piero Umiliani.

• Brings together themes from popular soundtracks and TV series
• Ramin Djawadi Game of Thrones, Max Richter The Leftovers, Downton Abbey main theme, Lalo Shiffrin Mission Impossible, Henri Mancini The Pink Panther, and many more

1. Ramin Djawadi
Game of Thrones Medley (Main Theme/The Night King/Light of the Seven)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

2. Lalo Schifrin
Mission: Impossible
arr. & orch. Matthieu Gonet

3. Justin Hurwitz
La La Land Medley (Mia and Sebastian theme/ Another Day of Sun)
arr. Matthieu Gonet

4. Trad. Scottish, late 19th century
The Skye Boat song (Outlander)
arr. Julie Berthollet, Camille Berthollet

5. Trad. Italian, late 19th century
Bella Ciao (La casa de papel)
arr. & orch. Matthieu Gonet

6. Boots Randolph & James Rich
Yakety Sax, (The Benny Hill Show)
arr. & orch. Matthieu Gonet

7. Max Richter
The Leftovers Suite
arr. Julie Berthollet, Camille Berthollet


8. John Barry
The Persuaders! (Amicalement vôtre)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard



Side B:

1. Ludovico Einaudi
Fly (Intouchables)
arr. Julie Berthollet, Camille Berthollet

2. Julie Berthollet
Flashback
words and music by Julie Berthollet, arr. Camille Berthollet

3. John Lunn
Downton Abbey Main Theme
arr. & orch. Matthieu Gonet

4. Henri Mancini
The Pink Panther
arr. & orch. Matthieu Gonet

5. Lorne Balfe, Rupert Gregson-Williams and Hans Zimmer
The Crown Main Title
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

6. David Arnold & Michael Price
The Game is on (Sherlock)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

7. Loik Dury & Christophe Mink
Dix pour Cent
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

8. Mathieu Lamboley
Arsène (from the Netflix original series Lupin)

9. Kyle Dixon & Michael Stein
Stranger Things Main Theme
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

10. Danny Elfman
The Simpsons Main Title
arr. Matthieu Gonet

11. Camille et Julie Berthollet
Générique
music by Julie Berthollet, arr. Camille Berthollet

Red Sparowes sweeping guitar orchestrations thrive unbound by narrative, reliant on the merits and strength of their power alone. "The Fear Is Excruciating, But Therein Lies The Answer" serves as a conduit where limitless amounts of imagery can reside within the grandiose scope of the quintet's lush symphonic vignettes. Though Red Sparowes’ music thrives unbound by narrative, the band provides a roadmap to their muse. Their 2005 debut album, At The Soundless Dawn, cast the scientific inevitability of the Sixth Extinction into a grand funeral oration, revealing the message within the individual track titles. Their second full-length, Every Red Heart Shines Toward the Red Sun (2006) provided a synopsis of the Great Sparrow campaign of the Great Leap Forward, laying bare its conceptual role. The Aphorisms EP (2008 digital, 2009 12" vinyl) served a thematic precursor to the next album. Red Sparowes' latest offering, The Fear is Excruciating, But Therein Lies the Answer, began with the larger existential pondering of truth, faith, order, causality, and the innate demand for an understanding of the larger world around us. While Red Sparowes’ majesty is hardly in need of story, the provision of the larger metaphor yields a heightened depth and gravity to their work. Red Sparowes consists of guitarist/keyboardist Bryant Clifford Meyer (also of Isis), bassist/pedal steel player Gregory Burns (ex-Halifax Pier), drummer David Clifford (ex-Pleasure Forever), guitarist/keyboardist Andy Arahood (ex-Angel Hair) and guitarist Emma Ruth Rundle (also of The Nocturnes). Tracks : 1 Truths Arise, 2 In Illusions of Order, 3 A Hail of Bombs, 4 Giving Birth to Imagined Saviors, 5 A Swarm, 6 In Every Mind, 7 A Mutiny, 8 As Each End Looms and Subsides

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence. Track Listing: A1. Inspiration / Information A2. Island Letter A3. Sparkle City A4. Aht Uh Mi Hed B1. Happy House B2. Rainy Day B3. XL-30 B4. Pling! B5. Not Available

PRONTO are back, this time seeing Greenskeepers don James Curd team up with Grammy award-winning Marius De Vries. Alongside composing the scores for a whole host of big films, De Vries has produced for the likes of Massive Attack, Madonna, David Bowie, Bjork, Pet Shop Boys to name but a few. So you know a matchup with Chicago house head Curd is going to hit with something special.

A disco-infused house bomb with a very special guest on those sweet vocals, ‘Auditory Gates’ gets the remix treatment from two producers at the top of their game, Jacques Renault and Oliver Dollar, who each put their trademark spin on it.

Against the backdrop of Asbury Park , NJ rock and punk history comes
BEACH RATS
With a membership that includes four impossible- to- avoid New Jersey punk
stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz
(Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded
out by Danny Windas, AKA "Dubs" on drums . BEACH RATS play a brand of
hardcore/punk that stays true to their members' roots while creating something
completely fresh and urgent."I had moved to Asbury Park," recounts guitarist Brian
Baker. "And it turned out that Pete Steinkopf and Bryan [Kienlan] from the
Bouncing Souls were sniffing around and had the idea to do a fun side-band with
Ari Katz from Lifetime. They had recently played together at a memorial for Dave
Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it.
Like most of my career, I walked into a pre-existing situation, ready to go. They
were talking about it and I was immediately like, 'I want to be in a band! Bands are
great, let's go!"The common denominator for BEACH RATS for was simple. "It's a
mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80's
hardcore riffs because we were there," states Bryan Kienlan. "You're gonna get
authentic punk and hardcore from BEACH RATS because we are all from the 80's.
It's literally taking it back to some of our biggest influences like Negative
Approach and Poison Idea, And of course, Minor Threat."

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

Glenn Fallows and Mark Treffel released their first album, ‘The Globeflower Master Vol. 1’, on Mr Bongo in September 2021. With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene’s connoisseurs. Louder Than War emphatically stated, "It’s impossible not to like The Globeflower Masters Vol. 1.”, with Gigwise echoing that praise “slickly compelling retro vibes”.

The Globeflower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European film soundtrack influences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk à la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1. Here the arrangements, melodies, and harmonies have been refined; only what is needed is left. Pulled into its vortex for the ride. This record doesn’t pull any punches.

The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from film and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globeflower Masters Vol. 2' takes us out of ourselves even if it's only temporarily.

To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The ‘Globeflower Master Vol. 2’ is a fitting tribute to the music they love and care deeply about and a glorious addition to their musical world.

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

"The whole point of this record was to share every emotion that I feel," sagt THE SOFT MOON aka Luis Vasquez. "No two songs are the same. It's about existing in the world as a human being and experiencing many emotions and experiences throughout life." Daher auch der Titel "Exister", ein Album, das von den ekstatischen Freuden und lähmenden Tiefen des Lebens handelt und davon, dass das Durchhalten und die Existenz manchmal alles ist, was wir haben. Der Grund, warum das Album für Vasquez so persönlich ist, liegt darin, dass sich sein Leben während der Entstehung des Albums stark verändert hat. Er verließ Berlin, sein langjähriges Zuhause, und zog in den Joshua Tree, um während des Lockdowns musikalisch und persönlich etwas Freiraum zu finden. Es fühlt sich wie eine Art musikalischer Neustart für Vasquez an. Das Cover des Albums zeigt ein Foto von Vasquez als Kind und steht stellvertretend für eine Platte, bei der es darum ging, sich wieder mit seinem jüngeren Ich zu verbinden, wobei eine Mutter-Sohn-Beziehung im Mittelpunkt des Albums steht. "It's my child self that you hear all over it," sagt er. "I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet." Doch trotz des Schmerzes, der Wut, der Verletzlichkeit und des Schmerzes, die im Kern dieser Platte zu finden sind, gibt es auch ein tiefes Gefühl von Hoffnung und Schönheit. Auf dem abschließenden Titel-Song "Exister" scheint das Album einen Ort des Friedens und des Trostes zu erreichen und endet mit einem ruhigen, nachdenklichen und ergreifenden Moment, der ein Gefühl des Optimismus nach einer Zeit des Umbruchs einfängt.

"The whole point of this record was to share every emotion that I feel," sagt THE SOFT MOON aka Luis Vasquez. "No two songs are the same. It's about existing in the world as a human being and experiencing many emotions and experiences throughout life." Daher auch der Titel "Exister", ein Album, das von den ekstatischen Freuden und lähmenden Tiefen des Lebens handelt und davon, dass das Durchhalten und die Existenz manchmal alles ist, was wir haben. Der Grund, warum das Album für Vasquez so persönlich ist, liegt darin, dass sich sein Leben während der Entstehung des Albums stark verändert hat. Er verließ Berlin, sein langjähriges Zuhause, und zog in den Joshua Tree, um während des Lockdowns musikalisch und persönlich etwas Freiraum zu finden. Es fühlt sich wie eine Art musikalischer Neustart für Vasquez an. Das Cover des Albums zeigt ein Foto von Vasquez als Kind und steht stellvertretend für eine Platte, bei der es darum ging, sich wieder mit seinem jüngeren Ich zu verbinden, wobei eine Mutter-Sohn-Beziehung im Mittelpunkt des Albums steht. "It's my child self that you hear all over it," sagt er. "I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet." Doch trotz des Schmerzes, der Wut, der Verletzlichkeit und des Schmerzes, die im Kern dieser Platte zu finden sind, gibt es auch ein tiefes Gefühl von Hoffnung und Schönheit. Auf dem abschließenden Titel-Song "Exister" scheint das Album einen Ort des Friedens und des Trostes zu erreichen und endet mit einem ruhigen, nachdenklichen und ergreifenden Moment, der ein Gefühl des Optimismus nach einer Zeit des Umbruchs einfängt.

(feat. Joe Russo)


The 10-piece ensemble founded by saxophonist Stuart Bogie and drummer Joe Russo is comprised by musicians who hail from a long list of groups, including Antibalas, The Dap Kings, Red Barat, Arcade Fire, Joe Russo’s Almost Dead, David Byrne’s American Utopia, St. Vincent, The Budos Band and Superhuman Happiness. A collaboration between old friends, Bogie's horn arrangements meet Russo's propulsive drumming in an explosive combination of woodwind and brass instruments that reimagine wind music in bold and dynamic new ways.

‘The Witnesses' speaks to urgency of the times in a musical language that laid the ground work for the project. The brass knocks, the saxophones scream, and the drums keeping you running for your life. Backed with ‘Take Them On’ - a battle song, soundtracking the internal and external summoning of the energy required to enter conflict. Featuring Eric Biondo on trumpet.

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

Anyone that cut their metal teeth with The Big Four, and then dug a little deeper into the indie scene, should receive a major endorphin rush when they discover that speed and thrash masters RAZOR are about to release their first studio offering in 25 years. The album, Cycle of Contempt, is a direct, cutthroat record that pulls no punches and takes no prisoners. From the catchy, concise riffs and insistent beats of album opener “Flames of Hatred” to the double-barreled assault, muted power chord chugging and combative gang vocal of album closer “King Shit,” Cycle of Contempt is a trenchant reminder of a time when clubs around the world were packed with long-haired bands that played as fast as they could and mosh pits that spun and tumbled like clothes in a short-circuiting dryer. As energetic and exciting as Evil Invaders and as urgent and powerful as RAZOR’s 1989 speed-fest Violent Restitution, Cycle of Contempt showcases a band that never stopped spewing venom. “I tried to write songs that everybody could listen to and say, “Yeah, I know a guy who's done that to me or done this, or I know that situation. I can relate to that,” band founder Dave Carlo says. “And I didn’t want to make everything specifically about me because when you do that, you exclude people. I wanted to include everyone that’s ever felt pissed off about anything.” An unrelenting slab of old-school thrash that showcases RAZOR's encyclopedic knowledge of the past along with Carlo’s growth as a songwriter, player, and lyricist, Cycle of Contempt is here to show that RAZOR are as dominating as ever.

12 October 2022 will mark the 150th anniversary of Ralph Vaughan Williams’ birth

- A concentration of absolute masterpieces by the best-known British symphonist!
- Ideal performance by his compatriots BBC SO under the baton of Sir Andrew Davis with the participation of Tasmin Little.
- A must-have!

“Sir Andrew lives and breathes this music as to the manner born and takes his beloved BBC SO on a moving journey from shadowy darkness to blazing light. With sumptuous sound this is easily the best "modern" version in the catalogue.”