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Welcome reissue/remaster of British Nirvana's surprise 1996 album, which revived songs written back in the Sixties but never released.

Taking its title from one of those songs, Orange And Blue has all the idiosyncrasies you'd expect from the minds of Patrick Lyons-Campbell and Alex Spyropoulos but done with a nineteen-nineties spin.

And its story of how it all came to be, as with all things Nirvana ? is not so straightforward and detailed inside the liner notes.

How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. There's also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team line-up of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.

In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honour of handling efforts as important as Davis' key recordings. It's why the our engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest calibre.

While no one has ever completely identified the magic behind the record's allure – the otherworldly nature is part of its inherent charm – much of the success lies with the band members. Davis intentionally hand-picked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.

An audiophile favourite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelity's reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.

B From E is a Happiness Therapy mainstay. Just last month the Dane remixed Mogan’s Monstera Tears, on the label’s lauded HT17 release. Now he follows this up with his first full Happiness Therapy EP in Just At Night. Featuring a remix by fellow Danish regular Niles Cooper, it marks a highlight occasion for the thriving Copenhagen talent.

Balancing a well-established career in Denmark with an international tour schedule is no mean feat, but in B From E’s case, that’s exactly what the Danish mainstay has been up to over the years. From Traxx Underground to Happiness Therapy, to being head of his own label Buddahood, his productions are downright infectious. Resident Advisor described it best: “Lean and smart, they're the kind of garage-tinged groovers loved by almost every house DJ on the planet,

"Sad music for happy people - happy music for sad people?

Ran Nir ist in Tel Aviv geboren und aufgewachsen, tourte als Bassist und Gründungsmitglied von Asaf Avidan & The Mojos um die Welt und ließ sich 2014 endgültig in Berlin nieder. Am 26.05. wird er sein zweites Soloalbum via Clouds Hill auf Vinyl veröffentlichen.

Eine wahrhaft israelische Version von Bon Iver, einem erstaunlichen Künstler, der als Bassist in einem Kollektiv begann und sich langsam, aber stetig in einen Solokünstler verwandelte, der sein Herz auf der Zunge trägt. Folk, Rock, Country, Pop, Blues, Elektronik, alles
vermischt - das ist die große Bandbreite an Einflüssen, die seine erhaben bittersüße Musik prägen.

Inkl. 12" Booklet. Alte Straßenköter-Weisheit: Die besten Partys sind immer die, zu denen man nicht eingeladen ist. Man braucht sich keine Gedanken um die Abendgarderobe zu machen, hat außer einem halbvollen, abgestandenen Wegbier nix in der Hand, was als Mitbringsel herhalten könnte, bedient sich gleichwohl mit absoluter Selbstverständlichkeit am Schnapsregal des Gastgebers, hinterlässt als Überraschung für den Tag danach eine Stange Mittelstrahl im Zahnputzbecher und tanzt vor allen Dingen möglichst auf allen Tischen so, dass man immer mit dem Kopf voran in der Hochzeitsbowle landet. Die Zuschauer sollen sich schließlich an diesen wunderschönen Abend erinnern können. Möglichst für immer. BUBONIX aus Limburg machen das, um das oben skizzierte Wedding-Crasher-Prozedere mal durch die Subkultur-Szene-3D-Brille mit einer Tüte Popcorn in der Hand anzuschauen, seit Jahren nicht anders. Jene bandgewordene Voodoo-Zeremonie des Punk und Hardcore um Sänger und Vorzeige-Wildsau Thorsten Polomski hat eigentlich immer schon auf jeder Party den größten Eindruck hinterlassen, und das obwohl (oder aber eben gerade weil) sie eigentlich nie und nirgendwo so richtig reingepasst hat. Das war schon auf alten Scheiben wie "Please, Devil Send Me Golden Hair" oder dem letzten Album "Capsaicin" der Band vor gut 15 Jahren nicht anders. Und jene wunderbar unbedarfte Assitüde treibt die frisch reunierte, um zwei alte Bandmitglieder geschrumpfte Combo (Sarah De Castro und Nenad Grbavac) auf ihrem neuen Album "Through The Eyes" so sehr auf die Spitze, dass man mit debilem Grinsen und ungläubigem Kopfschütteln vor dem Plattenspieler hockt und die HC-Punk-Referenz-Synapsen im Kopf so wild flackern und blinken wie die Weihnachtsbeleuchtung auf einer Front Porch irgendwo in Texas. Welcome back, BUBONIX _ ach nee: FUCK LOVE, MAKE VIOLENCE TO ÄRSCHE! (Ingo Donot)

Blue Vinyl

Inkl. 12" Booklet. Alte Straßenköter-Weisheit: Die besten Partys sind immer die, zu denen man nicht eingeladen ist. Man braucht sich keine Gedanken um die Abendgarderobe zu machen, hat außer einem halbvollen, abgestandenen Wegbier nix in der Hand, was als Mitbringsel herhalten könnte, bedient sich gleichwohl mit absoluter Selbstverständlichkeit am Schnapsregal des Gastgebers, hinterlässt als Überraschung für den Tag danach eine Stange Mittelstrahl im Zahnputzbecher und tanzt vor allen Dingen möglichst auf allen Tischen so, dass man immer mit dem Kopf voran in der Hochzeitsbowle landet. Die Zuschauer sollen sich schließlich an diesen wunderschönen Abend erinnern können. Möglichst für immer. BUBONIX aus Limburg machen das, um das oben skizzierte Wedding-Crasher-Prozedere mal durch die Subkultur-Szene-3D-Brille mit einer Tüte Popcorn in der Hand anzuschauen, seit Jahren nicht anders. Jene bandgewordene Voodoo-Zeremonie des Punk und Hardcore um Sänger und Vorzeige-Wildsau Thorsten Polomski hat eigentlich immer schon auf jeder Party den größten Eindruck hinterlassen, und das obwohl (oder aber eben gerade weil) sie eigentlich nie und nirgendwo so richtig reingepasst hat. Das war schon auf alten Scheiben wie "Please, Devil Send Me Golden Hair" oder dem letzten Album "Capsaicin" der Band vor gut 15 Jahren nicht anders. Und jene wunderbar unbedarfte Assitüde treibt die frisch reunierte, um zwei alte Bandmitglieder geschrumpfte Combo (Sarah De Castro und Nenad Grbavac) auf ihrem neuen Album "Through The Eyes" so sehr auf die Spitze, dass man mit debilem Grinsen und ungläubigem Kopfschütteln vor dem Plattenspieler hockt und die HC-Punk-Referenz-Synapsen im Kopf so wild flackern und blinken wie die Weihnachtsbeleuchtung auf einer Front Porch irgendwo in Texas. Welcome back, BUBONIX _ ach nee: FUCK LOVE, MAKE VIOLENCE TO ÄRSCHE! (Ingo Donot)

Nachdem 2013 zum 10-jährigen Jubiläum die Deluxe Version veröffentlicht wurde, ist ,Give Up" nun wieder als einfache LP im Original Format zu haben. Man kann alle Zeit und alles Geld der Welt darauf verwenden, das perfekte Pop-Szenario zu erschaffen, aber manchmal müssen sich die Sterne von ganz allein in die richtige Position rücken. Und obwohl die Mitglieder von THE POSTAL SERVICE schon früh darüber Witze machten, dass ,Such Great Heights" der ,Hit" ihres Debüalbums ,Give Up" sei, konnte niemand ahnen, was für einen Einfluss diese Album haben sollte, das in Schlafzimmern des Mittleren Westens konzipiert wurde. Über zehn Jahre sind ins Land gegangen, seit das kleine Projekt aus Ben Gibbard von DEATH CAB FOR CUTIE und Jimmy Tamborello (DNTEL, FIGURINE) scheinbar aus dem Nirgendwo anrauschte und sich tief in die Ohren all derer eingrub, die in Kontakt mit dem ansteckenden Electropop von THE POSTAL SERVICE geraten waren. Natürlich war die Musik von THE POSTAL SERVICE zu jeder Zeit viel mehr als nur Electropop. Die Kraft, mit der Jimmy und Ben den Zeitgeist des Indie Rocks der frühen Nuller Jahre heraufbeschworen, machte sie zu einem derartigen Phänomen, dass Künstler wie BEN FOLDS, AMANDA PALMER, STREETLIGHT MANIFESTO und CONFIDE ,Such Great Heights" gecovert haben. Ein Zeugnis des zauberhaften Funken und der melodischen Kompaktheit des Songs. Der Sound der Band ist ein derartiger Meilenstein, dass der Terminus ,Postal Service-esque" ein akzeptiertes Adjektiv in der Musikwelt ist. Es war unmöglich, vorherzusagen, wie groß ,Give Up" werden würde, aber schon 2003 war klar, dass diese Herren etwas ganz Besonderes erschaffen hatten.

Knapp vier Jahre ist es her, dass Adel Tawil sein letztes
Album veröffentlicht hat. In der Zwischenzeit erschienen
Singles wie "Niemandsland" und "Labyrinth" mit dem
Hamburger Rapper Bozza. Im März 2023 erscheint
endlich das langersehnte vierte Studio-Album
"Spiegelbild". Wie der Albumtitel schon erahnen lässt, ist
Reflexion und der Blick nach innen und außen das
Leitthema der Platte. Dieses zeigt sich sowohl musikalisch
als auch textlich. "Ich war die meiste Zeit meines Lebens
darauf fokussiert, den Menschen ein positives Gefühl zu
vermitteln. Es gibt Momente auf diesem Album, die ich
früher definitiv gekillt hätte, weil sie mir zu persönlich,
auch zu dark gewesen wären. Der Song ?Autobahn' ist
beispielsweise so ein Moment. Aber ich musste das
machen. Alles andere wäre nicht ehrlich gewesen.? Der
Sound ist neu, aber der Kern ist classic Adel: die Essenz
all dessen, was Adel Tawil zu einer der prägendsten
Stimme des Deutsch-Pops und einem der grössten
Songwriter des Landes macht.
Das neue Album "Spiegelbild" mit 16 Songs inkl. der
Singles "Niemandsland", "Labyrinth (feat. Bozza)",
"Autobahn" und "Die Welt steht auf Pause" im exklusiven
DigiPac. Die Doppel-Vinyl zum neuen Album "Spiegelbild"
erscheint handsigniert von Adel Tawil.

Knapp vier Jahre ist es her, dass Adel Tawil sein letztes
Album veröffentlicht hat. In der Zwischenzeit erschienen
Singles wie "Niemandsland" und "Labyrinth" mit dem
Hamburger Rapper Bozza. Im März 2023 erscheint
endlich das langersehnte vierte Studio-Album
"Spiegelbild". Wie der Albumtitel schon erahnen lässt, ist
Reflexion und der Blick nach innen und außen das
Leitthema der Platte. Dieses zeigt sich sowohl musikalisch
als auch textlich. "Ich war die meiste Zeit meines Lebens
darauf fokussiert, den Menschen ein positives Gefühl zu
vermitteln. Es gibt Momente auf diesem Album, die ich
früher definitiv gekillt hätte, weil sie mir zu persönlich,
auch zu dark gewesen wären. Der Song ?Autobahn' ist
beispielsweise so ein Moment. Aber ich musste das
machen. Alles andere wäre nicht ehrlich gewesen.? Der
Sound ist neu, aber der Kern ist classic Adel: die Essenz
all dessen, was Adel Tawil zu einer der prägendsten
Stimme des Deutsch-Pops und einem der grössten
Songwriter des Landes macht.
Das neue Album "Spiegelbild" mit 16 Songs inkl. der
Singles "Niemandsland", "Labyrinth (feat. Bozza)",
"Autobahn" und "Die Welt steht auf Pause" im exklusiven
DigiPac. Die Doppel-Vinyl zum neuen Album "Spiegelbild"
erscheint handsigniert von Adel Tawil.

Die ultimative
Fanbox zum neuen Album "Spiegelbild". Die Box
beinhaltet neben der CD ein exklusives Adel Tawil
Kartenspiel-Set, Beanie-Mütze, Early-Entry-Pass für alle
Adel Tawil Solo-Konzerte in 2023, schwarzes Lanyard mit
gewebtem "Adel Tawil - Spiegelbild" - Schriftzug.

Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

After Patrick Campbell-Lyons and Alex Spyropoulos dissolved their partnership, they both went separate ways in the music scene. Campbell-Lyons began work on the Local Anaesthetic songs while going through a series of personal matters which ended up being reflected in the tone of the album. He did release it under the Nirvana name in 1971, but what we have here is a totally different thing. He decided to break with what had been doing up to that moment, and came up with an experimental progressive rock album that was perfectly suited for the Vertigo label through which it was released. Musically, it has been compared to "something Frank Zappa could have done". It was not inspired by Zappa, but it certainly explored similar boundaries as he may have done in his works, often moving away from that pop sensitivity that had characterized Nirvana's previous outings. A unique sounding piece in their catalogue.



And although being so far from what was the Nirvana sound, we have another excellent LP here that has become a most sought after piece among collectors. Pianist/keyboardist Patrick Joseph "Pete" Kelly helped Campbell-Lyons complete the LP, which also featured collaborations by Jon Field, with whom Campbell-Lyons had the pre-Nirvana band Second Thoughts and who would later go to form The Tomcats, July and Jade Warrior - Jade Warrior's Tony Duhig had also played in Second Thoughts. Some brass arrangements are thrown in, but the orchestra is gone in favour of a harder free form, prog-rock sound.



The Wah Wah reissue is housed in the original gatefold sleeve and features one bonus track with the 1971 single version of TheSaddest Day Of My Life. It's the first ever official vinyl reissue since 1971. 500 copies only!

Beggars Arkive will release a long-awaited vinyl reissue of THE CULT"S second album LOVE on February 24th. THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their music and albums at this point need no introduction as they have cemented themselves over the years since they began in 1983, as one of the greatest rock bands around. Love was the Cult"s second album, originally released in 1985. It was their breakthrough and produced many singles including "Rain", "Revolution" and the epic anthem "She Sells Sanctuary" - songs that still resonate today - in fact "She Sells Sanctuary" was recently featured in Season Two of the hit TV show Euphoria. The album eventually defined their career, but at the time, it flew in the face of everything that was going on in music.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Since 2006, Pierce The Veil have unassumingly yet consistently climbed their way into the hearts of millions worldwide via an unshakable devotion to making honest and hypnotic hard rock. The San Diego band — Vic Fuentes (vocals, guitar), Tony Perry (guitar), and Jaime Preciado (bass) — released A Flair for the Dramatic 2007 and Selfish Machines 2010, the latter of which camped out at No. 1 on the Billboard Heatseekers Chart. They have steadily built a dedicated and diehard fanbase through touring and by nurturing an honest connection. PTV truly established themselves with 2012's Collide With the Sky, which spawned their first RIAA Platinum-certified single with "King for a Day." They followed with Misadventures in 2016, which charted at No. 4 on the Billboard Top 200 and notched No. 1s on multiple charts, including Top Alternative Albums, Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. In between sold-out tours all over the globe and a headlining stint on 2015's Warped Tour Main Stage, the musicians garnered five Alternative Press Music Awards (including "Album of the Year" for Misadventures), two Kerrang! Awards, and a Revolver Golden Gods Award. They've graced the covers of Alternative Press, Kerrang!, Rock Sound, and more — multiple times. Elsewhere, their digital and streaming footprint is nothing short of staggering. They've tallied over 1.5 billion global streams and almost 370 million YouTube views — proving that growth is a constant for them. Ultimately, Pierce The Veil, who've earned multiple gold and platinum certifications, remain one of the most beloved bands of their generation and they show absolutely no signs of slowing down as they march into a new decade ready to share the most important music of their career.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Das Album ”Disclaimer” von Seether wird am 20. Januar 2023 mit einer erweiterten Neuauflage auf
Vinyl, CD und digital gefeiert. Diese enthält das ursprüngliche 12-Track-Album mit Hits wie ”Gasoline”,
”Fine Again” und ”Driven Under” sowie eine bisher unveröffentlichte Live-Show, die 2003 im Hampton
Beach Casino in New Hampshire aufgenommen wurde. Abgerundet wird das Bonusmaterial auf Disclaimer
(Deluxe Edition) durch eine seltene akustische Live-Coverversion von Nirvanas ”Something in the Way”
aus dem Jahr 2002, die ursprünglich als B-Seite veröffentlicht wurde. Einmal mehr begeistert die Band
Seether ihre Fans mit ihrer Mischung aus Alt-Metal, Grunge und Lyrik mit Herz auf dem rechten Fleck.
Außerdem verglich der Rolling Stone Seether mit Grunge-Helden wie Pearl Jam und Nirvana und lobte die
”mitreißende Katharsis” der Gruppe.
Das Album ist erhältlich als 2CD und als Ltd. 3LP.

New Studio Album after long 8 years! Produced by Jack Endino in Chile and Mastered by Tony Cousins (The Verve, The Stone Roses) at Metropolis Studios U.K, Lacquer cut by Richard Simpson (Beck, Flamin’ Groovies, Lou Reed). After 8 long years The Ganjas returns with a new studio album, a joint production between Jack Endino and the band. Like the 2012 album ‘Resistance’, this LP combines sounds and styles that have marked the band since its inception; long space rock songs, neo grunge guitars, Manchester-reggae rhythms, and ballads with R&B vocal harmonies. For fans of: Sundial, Keith Richards, The Stone Roses, Swervedriver
A job that very well summarizes the more than 20 years of uninterrupted career. After the compilation album ́Ghost River ́ (2015) and having finished the European tour in September of the same year, the drummer changed, the long-lived founder Aldo Benincasa left and Nes entered, who had already replaced him on a couple of occasions. In March 2017 they embark on a trip to El Médano a mountain refuge that is on the border between Chile and Argentina, and in there for several days they shaped the songs that gave life to this album. Then, in 2018, Jack Endino, an old acquaintance of the group, travels from Seattle to Santiago to record 10 songs with different nuances and colors, lyrics in English and Spanish, radio cuts and long durations, rock, groovy and power ballads, at Estudios Lautaro. The album has songs like ‘America’ and ‘Ex-Pilot’ an opening and closing of almost 10 minutes in a cadenced and hypnotic groovy march, spatial and psychedelic in the purest style of The Verve's A Northern Soul album. While ‘Space Trees’ and ‘10.000 Años’ are short, powerful, fast and acid songs with the grunge and alternative rock stamp that sounded in the 90's, nothing to envy to Sundial and Swervedriver. There is room for Manchester-reggae moments in ‘New Berlin’, an instrumental dance song that was born in that city thanks to the collaboration with Andrés Bucci and ‘Listen To The Lion’, a trippy and deep Dub-Reggae cut. R&B ballads have always been part of the group's work and on this album they stand out with ‘Generation’, the title that gives the album its name, with a sound reminiscent of Keith Richards solo songs and the emotional nirvana-esque ‘Far Along The Way’. The mix was carried out in 2019 between Seattle and Santiago de Chile, during upheaval and social protests as a result of the October outbreak and was mastered in 2020 at the Metropolis studios in the U.K. by Tony Cousins, an engineer who had already worked with The Verve and The Stone Roses, influences recognized by The Ganjas. Due to the pandemic the release was postponed to the end of 2022. For the likes of: Sundial, Keith Richards, The Stone Roses, Swervedriver. Genre: Alternative / Indie

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe

WRWTFWW Records is proud to announce the worldwide reissue of Midori Takada’s solo album from 1999, Tree of Life, available on vinyl for the first time ever in a new audiophile mix by the Japanese percussionist herself, and in full half-speed-mastered glory. The 180g LP comes in a heavy sleeve with a beautiful design by Kohei Sugiura. Tree of Life is also available in CD (digipack) and digital formats.

Originally recorded in September 1998 at legendary Ginza (Tokyo) studio Onkio Haus (founded in 1974 and where Ryuichi Sakamoto’s "Merry Christmas Mr. Lawrence" and many more were recorded) and released on CD only for the Japan market in 1999, Tree of Life is Midori Takada’s best kept secret, a lost gem of minimalism and percussive ambient. The album is separated in two parts, the first one finds Takada exploring her trademark environmental soundscapes with precise mastery of marimba, drums, and bells, notably on the magnificent fan-favorite "Love Song Of Urfa". The second half is a collaboration with Chinese virtuoso Erhu player Jiang Jian Hua, allowing Midori Takada to unveil new layers of her artistic mind with a slightly more theatrical approach and a beautiful crystallization of complex simplicity.

The entire album was given a fresh new audiophile mix by Midori Takada herself and was mastered at Emil Berliner Studios, with half speed cutting for the vinyl version, to ensure an audio presentation aligned with the Japanese pioneer’s vision.

This Tree of Life reissue follows two newly recorded Midori Takada albums, Cutting Branches For A Temporary Shelter and You Who Are Leaving To Nirvana, both available on WRWTFWW Records, along with her 1983 masterpiece, Through The Looking Glass.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.