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Es ist das Jahr 2007. Die Welt gehört dir und der Rest deines Lebens beginnt. DIY ist das Motto der Stunde. Nach dem überbordenden Vorgänger „Geräusch“ wirken die ärzte harmonischer und kompakter denn je zuvor. Genau dieser Moment, er ist perfekt.

Mit „Jazz ist anders“ präsentiert sich die Beste Band der Welt in exzellenter Spiellaune und vervollkommnet das System BelaFarinRod. Es gibt die irre vielen zwingenden Melodien, die elektrischen Gitarren, den Quatsch, das Nachdenken, das Rausbrüllen, die ganz großen und die ganz kleinen Gefühle.

„Lied vom Scheitern“ ist die schmissige Hymne zur Selbstermächtigung, „Niedliches Liebeslied“ hebt das Genre Rodballade auf ein neues Level, „Licht am Ende des Sarges“ probt den Perspektivwechsel zum lustigen Vampir. „Tu das nicht“ ist ultimatives Statement zur Lage der Musikindustrie im beginnenden Breitband-Zeitalter. Und „Junge“ protokolliert nicht nur pedantisch allseits bekannte elterliche Sorgen, sondern schafft auch ohne Versmaß und echte Reime die Aufnahme in den Klassiker-Kanon der deutschen Popmusik.

die ärzte: Jetzt gegen Angst, Hass, Titten und den Wetterbericht. Immer noch ohne Festanstellung und Barry Manilow. Dafür mit Schalala und Schalalu und ein bisschen breit. Und ständig dieser Lärm.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

GRAMMY-award nominated Jordan Rakei is a renowned multi-instrumentalist, vocalist, producer, and songwriter who, over soon-to-be-five studio albums, has been on a wide-ranging journey that explores the outer reaches of his inner psyche, traversing themes of emotional evolution, personal growth and family with unwavering sincerity.

Always positioning himself in and amongst the bigger questions in life, he has navigated his musical journey with passion and precision, unveiling something new about himself through his songwriting at every turn. The Loop is by far Rakei’s most cohesive and evolutionary work to date following an impressive career of previous releases, each of which have demonstrated his natural curiosity and capabilities in exploring new sounds.

Folly Group become the first band on Ninja Tune imprint Technicolour
(Elkka, Sofia Kourtesis, VTSS) with their new EP ‘Human and Kind’.

The four-piece of Sean Harper, Louis Milburn, Kai Akinde-Hummel and Tom Doherty formed in the tumultuous melting-pot of the London musical circuit. They released their debut EP ‘Awake and Hungry’ last year, receiving wide acclaim for their electronic infused post-punk sound and furiously brilliant live shows, landing coveted slots at Pitchfork Music Festival, in NME’s 100 Artists On The Rise and a co-sign from IDLES’ singer Joe Talbot.

Speaking about the EP, Folly Group said: “Where ‘Awake and Hungry’
doubled as a diary of the band’s formative months and encapsulation of our live show, ‘Human and Kind’ is a projection of our ambition, and our desire to push ourselves through what we might previously have
perceived as the ceiling of possibility for four players.”

For fans of Black Country, New Road, Squid, Yard Act, Black Midi, Dry Cleaning, Shame, Do Nothing.
140g crystal clear vinyl in 12” sleeve with spine and printed inner, plus
digital download code. Pressed sustainably within a 99% circular
environment at Deepgrooves.

“Every track is so good. They haven’t released anything that isn’t
amazing.” - Joe Talbot (IDLES, speaking on BBC 6 Music)
“thriving in well-crafted chaos.” - NME
“brilliant, experimental jungle rock” - i
“Give me that post-punk syncopation any day of the week” - Lauren
Laverne, who has made the band’s last three singles (including ‘I Raise You…’) her While You Were Sleeping Track Of The Day.
Headline UK Tour starting 31 March, taking in London, Bristol,
Manchester, Leeds, Birmingham, Nottingham, Margate, Newcastle,
Southampton, Milton Keynes and more.

Rapid-fire with the releases like it’s effortless, minimal donny Velvet Velour steps up with his latest 4-tracker. Strong tech house currents in a similar vein to Kepler’s recent ‘Lowlife’ EP, but with extra zonk - it’s a head turning label debut.

The growing catalogue of releases belies a relatively short time spent producing. That said, he’s already a key proponent of the sound’s contemporary vanguard and XK035 might be the most vital effort to date.

BAR 25 turns 200 and presents an incredibly good compilation. do not sleep on this one!

First Time On Wax! Pressed On White Vinyl! Originally released on July 9th, 2012, only via Soundcloud, Cigarette Boats is NOW available on wax! When Curren$y (aka Spitta Andretti) & Harry Fraud collab, they create classics, something which is most definitely evidenced on 'Cigarette Boats'. The merger of Harry's signature production and Spitta's deadly flow show why XXL Magazine named it the "2012 EP of the Year." The duo decided it was time to make Cigarette Boats available in all formats, releasing the instrumentals exclusively on vinyl. Fraud recalled his audition for Curren$y, after meeting him while working on a Smoke DZA project: "I had met Curren$y briefly for one second at a radio station, but that was the first time we really kicked it. He just asked me to play some beats,

and I played like five beats, and he was just like, 'Yo, I need all of those. We gotta do a little EP with those.'' Those same five beats became the entire sound bed for the 'Cigarette Boats'.

U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.

After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.

From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.

Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.

Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.

Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Since 2008 our Spiritual Jazz series has presented unlimited horizons. Each album celebrates the rich tradition of African-American songs based on the belief in a higher force than oneself and has also focused on geographical areas, such as Europe or Japan, thus recognizing that these territories have immense cultural riches. Religions, like Islam, whose musical traditions have vivid Arabic and North African resonances, have also been highlighted. The stylistic range of all the above is wide.

Yet historic record labels, from Blue Note and Impulse! to Prestige and Steeplechase, have also featured because their catalogues are musical treasure troves that could not be more relevant to Spiritual Jazz, even though they issued vast amounts of music between the late '30s and present day, that have not been confined to any one school.

Spiritual Jazz 16 is a focus on Riverside and its associated sister labels. Riverside itself was founded in 1953 by Orrin Keepnews and Bill Grauer, and became an important purveyor in that decade and beyond of what would be marketed as of modern jazz. That coinage was itself an amorphous, umbrella term that essentially created a demarcation from the vocabulary of pre-war classic jazz and inter-war big band swing, thus recognizing that improvising artists were breaking new creative ground that would subsequently give rise to a flurry of sub-genres, for example bebop, hard bop, cool, modal and Latin jazz. And it's from this multiplicity of sub-genres that we choose the deepest, most vibrant selections that the vast, pan-generational catalogue of Keepnews & Grauer has to offer

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

In this collection of bass-led duets, Charlie Haden enlists Don Cherry (trumpet/flute), Archie Shepp (tenor), Hampton Hawes (piano) and a trumpet playing Ornette Coleman on the four tracks. Hawes’ playing on the Ornette-penned “Turnaround” is the clear straight-ahead highlight of this generally exploratory album. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

A1 - Permeate
JLM returns to Spatial with another superb selection of old school inspired tracks. Kicking us off is Permeate, with anxious melodies evocative of 90's sci-fi introducing proceedings before filtered old school breaks slowly rise into the mix. An early breakdown with the playful bassline flying solo for a spell precedes superbly executed amens adding a thick layer of detail to an eclectic beat pattern.
A2 - Orogeny
Orogeny opens with a lush old school riff, classically off-key melodies and echoing pads as the varied beats takes shape - effortlessly navigating a range of breaks to create a unique, bouncy pattern evoking a dynamic mid 90's energy with a captivating rhythm. Tuneful synth work and jazzy drum samples deliver an entertaining breakdown before the breaks resume for the latter half, airy pads adding further texture to the track.
AA1 - Subsidence
A contemplative, introspective tone is set by a delicate melody in the introduction to Subsidence, a track which showcases the variety of atmospheres JLM Production scan glean from his unique brand of drum & bass on Spatial set to the usual high standard of classic breaks and bass. Majestic pads and synths envelop the listener in a solemn haze, while a more intense, darkly melody counters, creating a divergent synergy to the vibe.
AA2 - Laminar Flow
Closing the EP in style, we are treated to a jazzy, melodic introduction to Laminar Flow with rising strings and vocal samples, before inspired 80's style synth sounds zip around the mix to a subtle, clean 2-step breakbeat. JLM ups the ante with a crisp Hot Pants break layered over the top while the jazz-inspired Rhodes key shifts craft a tuneful aura as cow bells ring throughout, rounding off another sublime and varied experience for the ears.

Words by Chris Hayes Spatial/Red Mist

he Album „hi“ is an invitation by Dani Scheffels to explore different emotions while listening to his instrumental music.

In his debut album, the Munich based multi-instrumentalist presents music, that is influenced by both his background as an accomplished drummer as well as his love for modern jazz and experimental electronic music.

There is no rule in his writing except one: no lyrics.

That way everyone can tie the emotional music to their own experiences best.
First not sure, if he wanted any features on this album, he decided to collaborate with his sister Amelie Scheffels on the track “this” and his longtime friend Ralph Heidel (known for his brilliant releases on the Kryptox-label, as well as through his work as musical director for artists such as Casper, Tarek K.I.Z, Drangsal, Bazzazian just to name a few..) on the track “finally”. “hi” is the second LP-release on the Munich based label tunnel.visions.

LØLØ has built a rabid following with her heart-on-her-sleeve lyrics and hard-hitting melodies spiked with a pop punk spirit over the course of three EPs. On her debut album, LØLØ “explores what it means to be human these days”. Recorded with producer Mike
Robinson, her single “u turn me on (but u give me depression)” has hit over 18M plays. EUPHORIA writes "LØLØ has become an undeniable presence in the pop-punk genre” evident by her constant touring with everyone from Boys Like Girls to New Found Glory and Against the Current.

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

First forging his DJ craft at underground parties and afters in Southern Brazil, Cauê's deep passion and devotion now resides in all his artistic output. He has built a solid discography spanning the likes of reputable imprints such as Affin, KVLTÖ, Circular Limited and most recently with his own project Ogan Records. In recent years, his active membership of London's budding deep techno scene has helped Cauê to garner his reputation as a highly consistent and prolific producer.

We're delighted to honour Cauê's love of the physical medium with a limited run of vinyl, pressed on 140g black vinyl in Italy and presented in a beautiful matte sleeve. Those who have followed Cauê's work will have observed the thematic constants of mysticism and theology that are woven throughout. Revelations is a brooding work of atmospheric techno. Reprobation opens the A Side with a deep sense of foreboding - a warning perhaps - before three cuts of raw and tunnelling techno that are both delicately introspective and wickedly hypnotic. Rapture is the audial equivalent of sunbeams breaking through the very blackest of storms, a beautifully melancholic piece that can only exist where darkness came before. World To Come closes the B Side with the eschatological sentiment of the wonders that await in the new age.

„Prism Of Pleasure“ wurde in 18 Monaten geschrieben und fasst Elkkas Wesen als eine LGBTQI+-Künstler:in zusammen, die Freiheit und Sinnlichkeit in den Vordergrund ihrer Arbeit stellt. Das war nicht immer so: Geboren und aufgewachsen in Südwales, wo es so gut wie keine Queer-Community in ihrer unmittelbaren Umgebung gab, musste Elkka ihre Identität langsam und neugierig zusammensetzen und dabei allmählich zu sich selbst finden. Nachdem sie sich geoutet hatte und in ihren 20ern nach London zog, begann die Musikerin mit dem Auflegen, Schreiben und Produzieren, was schließlich dazu führte, dass sie ihr eigenes Plattenlabel, femme culture, gründete und ihre eigenen queeren Clubnächte veranstaltete. „Prism Of Pleasure“ ist wie ein weiblicher Blick in einen dampfenden Raum voller Wunder (ein Konzept, das sich wunderbar im pinkfarbenen Albumcover widerspiegelt, das von Elkkas Frau und langjähriger kreativer Mitarbeiterin Alex Lambert fotografiert wurde), das sich um den Begriff der queeren Intimität dreht. Von den sanften, seidigen Vocals von „Crushhh“ bis zu den sich langsam entwickelnden, gehauchten Beats von „Your Skin“ („I'm breathing you in, I want to taste every inch of your skin“) und den gleichmäßigen, wogenden Synthesizer-Mustern von „surrender2me“ entfaltet sich „Prism Of Pleasure“ wie ein Patchwork aus schweißtreibenden Nächten, emotionaler Verbundenheit und versteckten Freuden. Elkka wurde von vielen Kolleg:innen unterstützt, darunter Four Tet, Floating Points, TSHA, Caribou, Sofia Kourtesis, Jon Hopkins, Ben UFO und SHERELLE, und gewann kürzlich einen AIM Award in der Kategorie „Bester Remix“ für ihre Überarbeitung von Ela Minus' „Megapunk“. Letztes Jahr veröffentlichte Elkka eine 4-Track-EP mit energiegeladenen Club-Tools unter dem Titel „DJ Friendly“ und trug auch zur bahnbrechenden DJ-Kicks-Reihe mit einem fesselnden Mix bei, der ihre Liebe zu Frauen und der LGBTQI+-Dance-Community zum Ausdruck brachte, zu der Elkka gehört und regelmäßig in intimen Räumen und auf Queer-Partys wie in der Panorama Bar und FEEL IT auftritt.

Drei Jahre nach ihrem morbiden Manifest "Limbo", einer bitteren Abrechnung mit der Pandemie und ihren bestialischen Folgen, kehrt Wave-Alchemist Ronny Moorings zurück. Im Gepäck hat er einen schwarzen Blumenstrauß aus Trauergesängen für eine kranke neue Welt, Elegien für einen neuen Status quo, mit dem wir alle leben müssen.

Auch 40 Jahre nach ihrer Gründung sind CLAN OF XYMOX ein Leuchtfeuer tragischer Eleganz und düsterer Tristesse. Sie sind die unbestrittene, unangefochtene Speerspitze einer Szene, die zuletzt überraschend die Aufmerksamkeit einer viel jüngeren Generation auf sich gezogen hat, die ihre Angst und ihren Schmerz durch Musik wie diese ausdrücken will. Gerne doch! "Exodus" zeugt von diesem Ausnahmestatus und führt das Feld der prosaischen Trauer mit zehn neuen Hymnen von erlesener Nachtschwere an. Das Besteck, welches Ronny Moorings benutzt, mag noch dasselbe sein; das Ergebnis ist ein weiteres Meisterwerk voller sehnsüchtiger Melodien, weltabgewandten Vocals aus den Tiefen der Erde, hallenden Gitarren und hypnotischen Drums, die die Phantome in uns allen zum Mitternachtsschmaus einladen.

Wir tanzen direkt in den Abgrund, will uns dieses Album sagen. Aber wenigstens tanzen wir noch. Denn wenn es nichts mehr gibt, an das man sich wenden kann, wenn alle Hoffnung verloren scheint und die Welt uns unter Fluten biblischen Ausmaßes begräbt, bleibt manchmal nur noch, sich der Musik hinzugeben. Diesem fesselnden Exodus in Richtung Katharsis. Vielleicht ist das der Grund, warum "Exodus" einige der düstersten und niedergeschlagensten Stücke enthält, die Ronny Moorings seit vielen Jahren geschrieben hat. Vielleicht ist das der Grund, warum diese Platte mit den besten Veröffentlichungen von THE CURE mithalten kann. Weil die Zeiten, in denen wir leben, ihn dazu gezwungen haben. Weil es einfach keinen anderen Weg gibt, als all seinen Kummer, seine Wut und seinen Weltschmerz in seine klagende Musik einfließen zu lassen. Nicht, weil die Welt danach eine bessere sein wird. Sondern weil es für ihn die einzige Möglichkeit ist, mit dem brutalen Wahnsinn, den wir Alltag nennen, fertig zu werden.

"Exodus" ist kein Album für Träumer. Es ist aber auch kein Albtraum - trotz der Schatten, die unter der Oberfläche brüten. Es ist ein Tor für all jene, die die Dunkelheit unserer Tage anerkennen und sich dennoch weigern, aufzugeben. Lasst uns also diese nächtlichen Wiegenlieder gemeinsam singen und tanzen, solange wir noch einen Boden dafür haben. Denn das ist alles, was wir im Moment tun können.

Drei Jahre nach ihrem morbiden Manifest "Limbo", einer bitteren Abrechnung mit der Pandemie und ihren bestialischen Folgen, kehrt Wave-Alchemist Ronny Moorings zurück. Im Gepäck hat er einen schwarzen Blumenstrauß aus Trauergesängen für eine kranke neue Welt, Elegien für einen neuen Status quo, mit dem wir alle leben müssen.

Auch 40 Jahre nach ihrer Gründung sind CLAN OF XYMOX ein Leuchtfeuer tragischer Eleganz und düsterer Tristesse. Sie sind die unbestrittene, unangefochtene Speerspitze einer Szene, die zuletzt überraschend die Aufmerksamkeit einer viel jüngeren Generation auf sich gezogen hat, die ihre Angst und ihren Schmerz durch Musik wie diese ausdrücken will. Gerne doch! "Exodus" zeugt von diesem Ausnahmestatus und führt das Feld der prosaischen Trauer mit zehn neuen Hymnen von erlesener Nachtschwere an. Das Besteck, welches Ronny Moorings benutzt, mag noch dasselbe sein; das Ergebnis ist ein weiteres Meisterwerk voller sehnsüchtiger Melodien, weltabgewandten Vocals aus den Tiefen der Erde, hallenden Gitarren und hypnotischen Drums, die die Phantome in uns allen zum Mitternachtsschmaus einladen.

Wir tanzen direkt in den Abgrund, will uns dieses Album sagen. Aber wenigstens tanzen wir noch. Denn wenn es nichts mehr gibt, an das man sich wenden kann, wenn alle Hoffnung verloren scheint und die Welt uns unter Fluten biblischen Ausmaßes begräbt, bleibt manchmal nur noch, sich der Musik hinzugeben. Diesem fesselnden Exodus in Richtung Katharsis. Vielleicht ist das der Grund, warum "Exodus" einige der düstersten und niedergeschlagensten Stücke enthält, die Ronny Moorings seit vielen Jahren geschrieben hat. Vielleicht ist das der Grund, warum diese Platte mit den besten Veröffentlichungen von THE CURE mithalten kann. Weil die Zeiten, in denen wir leben, ihn dazu gezwungen haben. Weil es einfach keinen anderen Weg gibt, als all seinen Kummer, seine Wut und seinen Weltschmerz in seine klagende Musik einfließen zu lassen. Nicht, weil die Welt danach eine bessere sein wird. Sondern weil es für ihn die einzige Möglichkeit ist, mit dem brutalen Wahnsinn, den wir Alltag nennen, fertig zu werden.

"Exodus" ist kein Album für Träumer. Es ist aber auch kein Albtraum - trotz der Schatten, die unter der Oberfläche brüten. Es ist ein Tor für all jene, die die Dunkelheit unserer Tage anerkennen und sich dennoch weigern, aufzugeben. Lasst uns also diese nächtlichen Wiegenlieder gemeinsam singen und tanzen, solange wir noch einen Boden dafür haben. Denn das ist alles, was wir im Moment tun können.

"The debut longplayer from Washington, DC-based Ekko Astral is a complex mesh of bubblegum noise punk and no-wave art rock that holds an elastic space for the knotty, tangled horrors of living in the imperial core. Their songs thrash with intense, necessary defiance against codified gender-based violence, their distortion and sibilance a direct response to the dangers outside our front doors.

pink balloons opener “head empty blues” specifically bites back against the terrors of the normative male gaze that dominates so much of American culture. Over a post-punk passage that plays call and response with a wall of harsh noise, frontwoman Jael Holzman belts playfully morbid details of the head-exploding anxieties that haunt her daily: “is it bon eye-ver or bon iver? / i don’t care / i’ve got stalkers outside / not going out tonight / gonna sit and take pics / in my underwear.”

Holzman formed the band in 2021 with best friend Liam Hughes (guitar), and eventually rounded out the band’s lineup with Miri Tyler (drums), Guinevere Tully (bass), and Sam Elmore (guitar). Ekko Astral’s local scene quickly welcomed the band for their wildly fierce live presence, emboldened by the community-building message behind the band’s mascara mosh pit brand.

Ultimately, Ekko Astral are here to uplift, a mission exemplified by the frenetic and bewitching pre-release singles “baethoven” and “devorah,” cornerstones of pink balloons in both style and theme. The former serves as a reminder to keep your larger than life personality in a world that wants to downsize you, where the latter proclaims urgent solidarity with missing and murdered people. Such crucial messages of upliftment are the foundation of pink balloons, and, by extension Ekko Astral, whose thrashing debut leaves no stone of solidarity unturned."

GATECREEPER return with their highly anticipated new album Deserted. The new album, a furious mix of snarling guitars and driving, rhythmic pummeling takes death metal from its 80's Floridian roots and 90's Swedish expansion straight into the here and now. In fact, the vanguard of death metal in 2019 can be found under Arizona’s searing sun. That’s where GATECREEPER members—Chase Mason, guitarist Eric Wagner, bassist Sean Mears, drummer Matt Arrebollo and guitarist Nate Garrett—make their homes. Of course, the band nodded to their scorching home state with the title of their 2016 full-length debut, Sonoran Depravation. The theme continues on Deserted, which boasts songs like “Sweltering Madness,” “Boiled Over” and the double-meaning title track. You can hear the results on “From The Ashes,” a crushing cut primed for the European festival circuit. Over on side two, “Boiled Over” fuses classic BOLT THROWER with the pulverizing power grooves of sludge titans CROWBAR. Album closer “Absence Of Light” upholds GATECREEPER's tradition of finishing their records with a deathly doom dirge. Deserted was recorded at Homewrecker Studios in Tucson, where GATECREEPER co-produced the album with engineer Ryan Bram. CONVERGE guitarist Kurt Ballou handled the mix at Godcity in Salem, MA, and Brad Boatright mastered the album at Audiosiege in Portland, OR. Deserted’s hallucinatory cover art was created by Brad Moore (TOMB MOLD, MORPHEUS DESCENDS, and more.)

Andrew Lloyd Webber's STARLIGHT EXPRESS will open in summer 2024 in the specially designed Starlight Auditorium at the Troubadour Wembley Park Theatre. Immerse yourself in a world of song and storytelling, accompanied by classics from AC/DC, Light End of the Tunnel and the legendary track Starlight Express.

Each side of the LP has been masterfully designed by zoetrope specialist Drew Tetz and is animated by animated by the rotation of the vinyl when exposed to the right lighting conditions or captured on a cell phone. recorded with a cell phone.

Indie Exclusive Limited Turquoise col vinyl, these were only available on the European tour, we have a final box of 50 which got held up in customs so offering now as an Indie exclusive. Northern California’s punk rock cult favourites, Tsunami Bomb, has risen from the grave and reformed with their third full-length release, The Spine That Binds, and with it they have proven that this chapter of Tsunami Bomb not only embraces their signature style of aggressive pop punk supplemented by a touch of darkness but have taken it even further. Honing their skills of melody while being more in-your-face and more aggressive than ever, they conjure a dark journey of discovery with each track. Originally formed in 1998, and disbanding after many member changes in 2005, Tsunami Bomb reformed at the end of 2015. This new release finds the quintet brought to life with the return of founders Dominic Davi (bass / backing vocals), Oobliette Sparks (keyboards / co-lead vocals), and Gabriel Lindeman (drums). Joined by Kate Jacobi (lead vocals) and Andrew Pohl (guitars/backing vocals), they combine their skills to create a sound that effortlessly mixes dark musings on the search to find one’s place in an increasingly uncaring world, into unforgettable anthems, calling on one to get up and sing-a -long. The Spine That Binds is not asking for your acceptance, it demands it. This album will scratch the itch of all the diehard fans looking for that familiar Tsunami Bomb sound, but also show a new, angrier and brutally honest side of the band. With the support of Jello Biafra’s legendary punk rock label, Alternative Tentacles Records, Tsunami Bomb has not only heard the call, they are ready for the newest chapter to unfold and they are taking everything with them

Since 2002, Rebeka Warrior, poet by night, producer by day, and Carla Pallone, composer, baroque violinist turned multi-instrumentalist, have formed Mansfield.TYA. If we knew until now the sensitive world of Mansfield.TYA: meaning of melody, melancholy and minimalism, today the group returns with a poetic ode New Wave. With Monument Ordinaire, Rebeka and Carla are making their fifth album: 45 minutes of life and death, of poetry carved out of rock, imagined as words by Master Dogen on simple and catchy melodies by Jacno. An album of happy melancholy, an escape to celebrate the furious love of life, like so many cries of the heart. Always guided by emotion and constant attention to words, Mansfield.TYA shares 12 songs that make us dance even when we cry.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the signing of the eagerly anticipated debut album by London singer-songwriter and renowned DJ Iraina Mancini. Iraina’s singular pop vision will be known to regular listeners of 6 Music, where her singles ‘Undo The Blue’, ‘Deep End’, ‘Shotgun’ and ‘Do It (You Stole The Rhythm)’ have all been enthusiastically embraced. Iraina's obsession with music stretches back into her early childhood, much of which was spent absorbing her parents’ collection of old 45s, in particular her dad’s Northern Soul records – an alternative education which meant that, by her early 20s, she was a familiar presence in the DJ booth at many discerning London club nights. Her love of French ye-ye, British freakbeat, Brazilian bossa nova, soul, and Turkish psych will be well-known to regular listeners of her Soho Radio show. Having always sung from a young age, Iraina embarked on a string of collaborators such as Jagz Kooner (Sabres Of Paradise), Sunglasses For Jaws (Miles Kane) and Simon Dine (Paul Weller, Noonday Underground) which truly saw her find her metier as a songwriter, conjuring melodies that stand shoulder to shoulder alongside her impeccable influences. Iraina describes her first single for Needle Mythology ‘Cannonball’ as “a celebration of that moment when you meet someone you really fall for and it knocks you for six. It can be a bit scary, but you’ve just got to go with what your intuition is telling you.” Written with Simon Dine, the vertiginous heart-in-mouth abandon of the song perfectly mirrors the circumstances that brought it into being. Iraina cites Jacqueline Taïeb’s 1967 single 7h du Matin as an early inspiration for the song: “There’s such a great energy about that song. Her vocal is amazing and all those stops and starts that grab your attention.” “This is an artist I absolutely love, one of our rising stars at 6Music.“ Lauren Laverne BBC 6Music “Iraina seizes on the best aspects of the past, blurring those impeccable 60s and 70s influences with a touch of modernity.” Clash “Full of femme fatale poise and swooning chanteuse flourishes.” The Times

Jetzt auch als Neuauflage in Ltd. Edition Rotem Vinyl erhältlich!

"Songs are like tattoos" - die berühmte erste Zeile von Joni Mitchells "Blue" - ist ein Gefühl, das für die kanadische Rockerin Lee Aaron schon immer eine große Rolle gespielt hat.
Im Laufe ihrer 18 Alben umfassenden Karriere hat Aaron Musik geschrieben, aufgenommen und produziert, die mit Gold und Mehrfach-Platin ausgezeichnet wurde. Sie gilt als eine der besten Rocksängerinnen Kanadas und hat auch Ausflüge in den Jazz, Blues und sogar in die Oper unternommen. Dafür erhielt sie zahlreiche Preise und Auszeichnungen und wurde 2023 in Kanadas Walk of Fame aufgenommen.

"Das Einzige, was ich noch nie gemacht habe, war ein komplettes Cover-Album", sagt Aaron. "Es schien mir ein wirklich cooles und superlustiges Projekt zu sein, das ich zu diesem Zeitpunkt in Angriff nehmen wollte..."

"Tattoo Me" ist eine klangliche Zeitkapsel, die die Jahrzehnte überbrückt. Einmal mehr zementiert Aaron ihren Status als Rock'n'Roll-Chamäleon, indem sie Altes mit Neuem verbindet und damit nicht nur beweist, dass die transzendente Kraft der Musik niemals aufhört, sondern dass auch sie selbst nicht bereit ist, dies in absehbarer Zeit zu tun.

Bonny Light Horseman - das gefeierte Trio aus Anaïs Mitchell, Eric D. Johnson und Josh Kaufman - hat heute angekündigt, dass ihr drittes Album und Jagjaguwar-Debüt, das Doppelalbum Keep Me on Your Mind/See You Free, am 07. Juni 2024 erscheinen wird. Außerdem haben sie die Leadsingle "I Know You Know" zusammen mit ihrem allerersten Musikvideo veröffentlicht. Der Song, der von Mitchells und Johnsons stets eindringlichen Harmonien getragen wird, zeigt die Fähigkeit der Band, emotionale Erschütterung mit einer Pop-Sensibilität zu verbinden, wie das Wohlfühl-Arrangement und der hymnische Refrain.

Bonny Light Horseman - das gefeierte Trio aus Anaïs Mitchell, Eric D. Johnson und Josh Kaufman - hat heute angekündigt, dass ihr drittes Album und Jagjaguwar-Debüt, das Doppelalbum Keep Me on Your Mind/See You Free, am 07. Juni 2024 erscheinen wird. Außerdem haben sie die Leadsingle "I Know You Know" zusammen mit ihrem allerersten Musikvideo veröffentlicht. Der Song, der von Mitchells und Johnsons stets eindringlichen Harmonien getragen wird, zeigt die Fähigkeit der Band, emotionale Erschütterung mit einer Pop-Sensibilität zu verbinden, wie das Wohlfühl-Arrangement und der hymnische Refrain.

Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Plagues Upon Plagues opens with the bereft waves of “No Uncertain Terms”, a side of the band we haven’t seen before. Vocalist Chris Colohan describes this album as “a funeral rather than a trial”, the activism of previous releases fading to sorrow and grief.

Lead single New Low follows with the advent of marching drums, a funereal procession for the world we hoped to build. There’s frantic horror on the album too, with the track “Drowning in Sorrows” taking a look at the ways in which we numb ourselves as a society. “#ForeverHome” is a bitterly angry track about how people used animals for both narcissistic virtue signalling and one-way comfort in the pandemic, and abandoned them en masse just as selfishly when social life came back. Speaking to their straight-edge principles and how that continues to feed into their songwriting, Chris says, “the only kind of straight edge songs I’m interested in writing are dynamic ones that address human realities that you don’t have to be straight edge to engage with.”

On Plagues Upon Plagues, Sect pierce through the veil of complacency, forcing listeners to confront uncomfortable truths about the fragility of our world. The band wields their sonic arsenal like a prophetic warning and with raw vocals and uncompromising lyrics, they confront the harsh realities of existence in these tumultuous times. As society teeters on the brink of chaos, Sect's cold hard statement resonates with an urgency that cannot be ignored.

Rockpile was a short-lived yet highly influential quartet, composed of Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams. Though Rockpile played together throughout the 1970s, the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape. Meshing the sounds of pub rock, power pop and rockabilly all through a blossoming new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison and Elvis Costello. Seconds of Pleasure has stood the test of time and cemented Rockpile as a one-album-wonder, but what a wonder it is! Featuring classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s sole Billboard hit “Teacher Teacher,” Seconds of Pleasure remains a classic that should be found on the turntable of every music collector. Yep Roc is proud to announce a long overdue vinyl reissue of Seconds of Pleasure, pressed on yellow color vinyl and limited to 1,000 copies worldwide. The reissue was pressed at the state-of-the-art facilities of Citizen Vinyl in Asheville, North Carolina and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. Over four decades later, Seconds of Pleasure has brought years of enjoyment and now has never sounded better!

“Home” is not always a literal place. Sometimes, “home” represents inner peace and simply learning to hold space for yourself. This is where Vacations lead singer and guitarist Campbell Burns has arrived as he and bandmates Jake Johnson, Nate Delizzotti, and Joseph Van Lier release their third LP, No Place Like Home. “I had this loose concept of No Place Like Home being an Americana-influenced album,” Campbell says of the album’s sonic inspirations. “I wanted to incorporate more pianos, acoustic guitars, Nashville tuning, and country-inspired lap steel, but then also bringing in drum machines and synths and finding a mix between the two.” Produced by Campbell and John Velasquez (Zella Day, Broods), No Place Like Home comprises 10 shimmering tracks brimming with indie-pop hooks and just a touch of bittersweet sensitivity. The new project follows an intense period of transformation for Campbell, who was forced to cancel all touring commitments due to COVID restrictions and subsequently came down with a severe bout of writer’s block. After seeking therapy, he was eventually diagnosed with Pure OCD, a subtype of Obsessive Compulsive Disorder. “Pure OCD is more mental compulsions rather than physical compulsions,” Campbell explains. “If I have an intrusive thought, I'm giving that thought belief and power over myself.” As the world began to open up, so did Campbell’s vibrant creative spirit. Vacations hit the road for the first time in two years, selling out The Fonda in LA and playing Austin City Limits Festival in Austin, experiences that partially inform No Place Like Home. First single and album opener “Next Exit” sparkles with danceable synth riffs and Campbell’s aching falsetto, all while setting the overall tone for what’s to come. “‘Next Exit’ is about living in this monotonous cycle,” Campbell reveals. “You realize that you need an out. You need to — metaphorically and literally — take the next exit out in order to break out of that cycle.” The singer mines his Pure OCD diagnosis on the pondering “Over You,” which thematically picks up where “Next Exit” drops off. Campbell remarks on how “it almost has this ownership over my thoughts and actions to the point where I'm stuck in these loops and rituals that are a direct result of having OCD.” On the Americana-inspired “Midwest,” which seamlessly blends pop electronics, drum machine, and ‘80s synth with poignant lap steel tones, the song remarks on the comedic nature of repeatedly entering into romantic relationships prior to going on tour — only to have them fizzle out upon returning. As the band releases No Place Like Home, Campbell is ironically just fine with not putting down physical roots just yet having recently made the move to LA for exploration, expanding “I needed to get overseas if I wanted to keep progressing — from a career standpoint, but also on a personal level.” The greater priority lies within building that sense of comfort within himself. In the meantime, millions of fans around the world are making a permanent home with Vacations.

Are you ready to hear the best live band of the early ‘70s? We at Real Gone Music have been privileged and proud to release Fanny’s four classic Reprise albums, each a tuneful testament as to why they were the first all- female band signed to a major label. But there has always been a piece missing from the Fanny fable; for while the band hooked up with big-time producers and engineers like Richard Perry, Todd Rundgren, and Geoff Emerick, their studio albums never really were able to capture the sheer excitement they could generate in concert. However, buried away in a vault thousands of miles away from their Los Angeles base there long lay a recording that could make the Fanny myth a reality, one that could provide the emphatic answer as to why these four ladies were the hottest ticket on the Sunset Strip during the early ‘70s. Now, over 50 years later, its time—and their time—has come. Live on Beat-Club ’71-’72 presents the two sets Fanny recorded for the German TV show, mastered by Mike Milchner of Sonic Vision from hi-res mono files taken from the original videotape. Aside from the incendiary and incredibly tight performances, what immediately becomes apparent is that all four of these women were powerhouses in her own right. June Millington’s stringbending Les Paul wizardry, her sister Jean’s driving, melodic bass lines and Janis Joplin-esque vocals, Nickey Barclay’s intricate yet somehow rocking keyboard work, and Alice de Buhr’s precise, piston-like drumming punctuated by ferocious fills—put together Fanny was an overwhelming display of talent, Yet somehow, as these shows reveal, live they were greater than the sum of their parts. That’s why getting these recordings released has long been a crusade for Alice, and why June tells the story in the accompanying liner notes (which feature contributions from June, Jean, and Alice) that the engineer who was assigned to do the transfers of all the Beat-Club material told her that their material was the best in the vault, better even than Hendrix. We are releasing this invaluable archival recording on juicy peach vinyl and on CD with a bonus track of the soundcheck to boot. Essential for a full understanding of ‘70s rock!

One of the best reggae albums of the ‘80s and one of the real highlights in the Real Authentic Sound label catalog finally gets an LP reissue! Lascelle “Wiss” Bulgin, Albert “Apple Gabriel” Craig, and Cecil “Skelly” Spence all contracted childhood polio, and met at a Jamaican rehab center; in the ‘70s, they formed Israel Vibration and their first record, The Same Song, released in 1978 on the Top Ranking label, was an international smash. But by the time they released Strength of My Life in 1988, it had been seven years since they had made a record, having fled Jamaica in the intervening years to seek better health care and to escape the dancehall scene. Against all odds, Strength of My Life turned out to be a triumph, the beginning of the group’s partnership with the Roots Radics and a reaffirmation of the love the group’s members had for each other and a celebration, as the title goes, of the strength of their lives (we defy you not to be moved by the title track). That’s Augustus Pablo on melodica on “Greedy Dog” and Dwight Pinkney on guitar on “Jah Love Me,” by the way. Roots reggae royalty!

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

Recorded in Los Angeles in 1982, 13.13 exists as document to the pandemonium of specters and potential serial killers who twisted the California Dream into a waking nightmare as they snaked through the boulevards, back yards and basements of a sun stroked paradise turning into a blood soaked inferno of fear, paranoia, panic and lust killings. Lush musical textures provided by members of seminal art punks The Weirdos - Dix Denney, Cliff Martinez and Greg Williams create a hypnotic backdrop to Lunch’s evocative vocals and terrifying lyrics.

The three howler monkeys of NAG strike back with their new album “Boys Of Europe”. They debuted in 2016 as an exciting breath of basement-smelling air. Their moderately original alternative cement mix of the filthiest of punk, the truest of hardcore, and the evilest of metal was very well received. Then came gigs and tours around Europe before the second album was released in 2018, to raving reviews too, ofcourse. But then there was dead silence. For a long time. Now they’ve finally returned from obscurity with ten perfected and mighty NAG-tunes. Indeed, their hair has become greyer, and their backs hurt more, but there’s no way you can tell. They still sound like raging Norwegian teenagers. NAG has stayed true to their original ‘crust punk black metal’ formula, and the new album is as hard, fast and straightforward as anything they’ve done before.

Luther Vandross was more than just a great singer. An elegant and warmhearted New Yorker who became one of popular music's most beloved performers, from his solo breakthrough in the early '80s to his untimely death in 2005, Vandross was a vocalist whose understanding of singing as an art form was so profound, he changed notions of what it could be. On March 23, 1977, Vandross's album 'This Close to You', with his group Luther, enchanted listeners with soulful tunes and deep lyrics, further cementing his status in the music industry. This is a x12 trk, standard Black LP vinyl & CD. Marketing activity.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

The fourth album by Love Battery, 'Straight Freak Ticket' (1994), now out for the first time on vinyl! Remastered by Jack Endino (Nirvana, Soundgarden, etc.) 'Straight Freak Ticket' is the 4th album by Seattle alternative rock band Love Battery. It was originally recorded in 1994 and released only in USA and on CD format - now it is being released on vinyl for the first time. The Seattle Post-Intelligencer called the album "a solid, well-produced album of guitar-based rock with catchy hooks and a strong dose of psychedelia." USA Today labeled the album "a psychedelic tour de force and dramatic leap forward," writing that "the antigrunge guitar riff-o-rama of Ron Nine and Kevin Whitworth propels the Seattle quartet's most adventurous and listenable tunes to date." The band, featuring members of Mother Love Bone, Green River, Skin Yard, The Presidents of the USA, is: Ron Nine - Vocals, Guitar Kevin Whitworth - Guitar Jason Finn - Drums Bruce Fairweather - Bass

Orebolo (or-RAY-beh-low) is an acoustic trio featuring Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, guitar), and Jeff Arevalo (upright bass). The band, comprised of members of the emergent indie rock group Goose, has built a faithful following nationwide, performing an eclectic mix of originals and covers. With their debut studio album, The Chateau, the trio finds comfort in exploring Goose's deep catalog acoustically - a feeling they hope to translate to those listening at home.

Piezo’s Ansia imprint returns for its 8th outing ‘Imago’, inviting Berlin’s Unity Vega for a split EP of uptempo dancefloor explorations that mine that fertile space between footwork, drum’n’bass, dancehall and experimental contemporary club sonics.

Unity Vega leads the charge with ‘No Body No Mind’ - a waterlogged darkside skanker that sits somewhere between the half-stepping jungle of the UVB-76 crew and the kind of oddball dancehall deconstructions often peddled by Ansia's extended circles. 
Appearing again on the flip, Vega ups his pace on ‘Set Em’ - a nervy footwork roller that pits gully hip-hop vocal chops against rising bell chords and washes of delayed noise. Think Rashad dubbed out by Kevin Martin and you’re in the right ballpark.

Label head Piezo’s contributions continue along similar lines, albeit in his own unmistakable style. ‘Toughts, Heavy’ also finds the midpoint between d’n’b and dembow, this time marrying a gurgling acid bassline with a euphoric-turned-paranoiac trance lead. 
Up next, ‘Nel Frigo Ah’ strips things back to the raw, banging basics: a looping vocal call pinned down by a frenetic crescendoing drum workout.

To close, Japanese legend Foodman delivers a pots-and-pans rework of ‘Thoughts, Heavy’ - a true curveball tool for the adventurous DJs amongst us.

After a decade-long hiatus, Blake Baxter (Underground Resistance, Tresor) and Marc Romboy (Systematic, Kompakt) have reunited to release their latest track, "Muzik is Love." More than just a song, it represents a philosophy, a mindset, and a tribute to authentic techno music.
The duo previously collaborated on the hit "Freakin'" two decades ago, a track that continues to electrify dance floors. They followed up with several iconic tunes, including "Muzik," "Where Would You Be?" and "House Ya."
This new 12-inch record features special locked grooves on the B-side, catering specifically to vinyl enthusiasts.
With two records, DJs and music lovers can creatively rearrange the track, blending the locked grooves with individual stems from the original to form a unique mix.
Dive into a new realm of vinyl mixing with this innovative release and experience the evolution of techno firsthand

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

'Monumental work that captures the transformation of Japanese jazz', Variation is a buzzing free jazz juggernaut that effortlessly bridges the gap between chaos and cool. First released in 1969, a year considered as the absolute pinnacle of free jazz in the nation (after which many artists also began to incorporate a national flair into their music), Masahiko Togashi was but one of a few composers to achieve widespread recognition for his craft at the time. This collab with Hiroshi Suzuki hears cuts like 'Suzu No Uta' blissfully enthrall with gossamer tuned percussion and trembling metal shakers, while ordered cacophonies like the closer 'Passion' describe the ups and downs of love through many a scalic decrescendo.

Remastered vinyl of the original album which came out on CD only in 2005. Limited to 200 copies on classic black vinyl. This is an album that’s as alive as any could be. Indeed, far from sounding like the last desperate set of half-baked ideas from a once vital band (hello Oasis?) Artists Cannibals Poets Thieves is more like a debut album from a bunch of teenage upstarts: free from cynicism, fired with worldly wonder and chock full of ideas. This is certainly a different outfit from that of 1998, when they first wowed us (via John Peel, naturally) with the utterly essential sprawling noise that was The Things We Make. Long since stripped down by a series of resignations from a five strong collective to a taut three piece featuring founding members Chris Olley, James Flower and Chris Davis, the music has simplified considerably. Gone are the soundscapes of old, and in their place we have a series of sharp basslines, swirling keyboards, cutting guitar lines and the passionate hollering of frontman Olley. Opener All I Really Want From You Is Love is a perfect introduction to proceedings – a truly wonderfully distorted slab of indie rock, recalling early Jesus And Mary Chain in both its fuzz and, crucially, its wonderfully crafted tune. Next, Nowhere To Go But Home sounds like New Order if they’d emerged from Detroit in 1966. Tonight (I Wanna Make It Out) follows likewise with the best bassline Peter Hook never plucked. Throughout, Six By Seven manage to sound so natural, so refreshing free of the flab and introspection that a band on its last legs would usually succumb to. And whilst the momentum is momentarily lost as the drum machine makes an appearance to fashion the Suicide-esque trawl of Stara Paris Rescued Me, it’s not long before Just Get It Down muscles things back on course with a whispered Olley diatribe perched on top of more raw cacophony, before we reach the bitter end via the Depeche Mode-on-smack You Know I Feel Alright Now. Tracklisting:

When I arrived in Geneva, Claude picked me up in his Aston Martin. He had a tape deck playing Lowell Fulsom – a guy who used to come to Memphis a lot and I knew some of his musicians. I grew up around the Blues, so this was a natural sound for me. Claude didn’t tell me until much, much later that he played Blues harmonica. He took us to the hotel where we had a warm and cordial welcome. Montreux was a quaint and sleepy town in 1967. However, there was a palpable excitement in the air and we could feel it. Everyone seemed to know that they were about to launch something great – the Montreux Jazz Festival - and there was no turning back. I was their first international artist to perform there with my quartet with Keith Jarrett, Jack DeJohnette and Ron McClure.

We played two concerts at the Casino one in the afternoon and one at night. That was the start of three great and lasting friendships; Claude Nobs, Montreux Jazz Festival co-founder, Rene Langel, and the engineer of the recording, Pierre Grandjean, from Radio Suisse. And - a fourth person, who was 6 at the time, Yvan Ischer. We did not meet until many years later and have become good friends. It is thanks to Yvan’s persistent belief in this music and Pierre Grandjean’s safe keeping of the tapes, that we hear them now, more than fifty years later. live at Montreux Jazz Festival, June 18, 1967. Featuring Charles Lloyd, Keith Jarrett, Ron McClure, and Jack DeJohnette.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

Boogie and funk don Tim Tucker hails from Northern Cali and is half of the Love Cryme duo. He has been digging in his vaults to offer up two songs for this limited new vinyl release on Trusechool and they have both been reworked by Knoe1. First up is the brilliantly blissed-out boogie and retro synth work of 'U Cant Run' complete with a sultry vocal that soon gets under the skin. 'Disco Lights' (Knoe1 rework) then keeps it deep and smoochy with jumbled disco percussion and noodling jazz chords all topped off with some superb synth work. Two real gems here, then, on a mad-limited 7".

The Talented Italian Producer, Known for His Enigmatic Project Hill and Recognized for His Previous Ep Collaboration With the Detroit Legend Javonntte on Skylax Records, Is Making a Much-Anticipated Return Under His Real Name, Alessio Collina. an Ardent Aficionado of Authentic House Music, Collina, Hailing From Italy, Gifts Us a Remarkable Lesson in His Latest Offering, the "Pieces of Life Ep." Collina's Dedication to the Origins of House Music Is Evident Throughout This Ep, and It's a Refreshing Reminder of the Genre's Timeless Roots. Italy, a Country With a Deep Appreciation for House Music, Once Again Serves as the Source of Inspiration for This Artist. the "Pieces of Life Ep" Pays a Heartfelt Tribute to the High-Energy and Groove-Laden House Tunes of the 90s, Echoing the Sounds of Iconic Figures Like Dj Duke, Marshall Jefferson, and Labels Like Strictly Rhythm. With Each Track, Collina Effortlessly Transports Us Back to That Golden Era, Capturing the Very Essence and Spirit of That Unforgettable Time. the Ep Kicks Off With the Electrifying "All of That," an Absolute Masterstroke That Sets the Tone for What Follows. Its Pulsating Beats and Infectious Melodies Are Reminiscent of the Fervent Dance Floors of Yesteryears, Evoking a Sense of Nostalgia While Remaining Incredibly Fresh and Contemporary. the Ep's Three Other Titles, "Humble Groove," "Lost World," and "Mid Season," Continue to Captivate and Immerse Listeners in Collina's World of Evocative, Groove-Filled House Music. Each Track Showcases His Meticulous Attention to Detail and His Ability to Create an Authentic Atmosphere That's True to the Genre's Roots. Collina's "Pieces of Life Ep" Is More Than Just a Musical Collection; It's a Genuine Homage to the Spirited House Music of the 90s. His Dedication to Preserving the Essence of the Genre While Infusing It With His Unique Creativity Shines Through in Every Beat and melody.

This Ep Not Only Reinforces Italy's Profound Connection to the House Music Legacy but Also Solidifies Alessio Collina's Place Among Contemporary Artists Who Honor the Past While Paving the Way for the Future. as Skylax Records Prepares to Release This Exceptional 12-Inch, It's Clear That "Pieces of Life" Is a Treasure Trove for Any House Music Enthusiast, Inviting Them to Rediscover the Magic of the 90s With a Fresh Perspective....

Despite initial obstacles, Loverboy established themselves as one of the most successful Canadian rock bands of all time. "Working For The Weekend" is not only their mega-hit from the 80s, but has been Loverboy's motto for over 40 years. Their 1982 performance appears for the first time in fully restored & remixed sound. "Live In '82" not only captures the band's joy of playing and energy, but also reflects the golden era of the 80s: colorful clothes, fancy hairstyles (and headbands), great movies and great music. As a limited CD+Blu-ray edition & limited 180g Black LP edition with bonus DVD and including their mega hits "Working For The Weekend", "Turn Me Loose", "The Kid Is Hot Tonight" & more.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

2024 Repress

Repetitive Rhythm Research mainstay Frequency returns to the series with "Turn The Light". Taking cues from classic Detroit influences but taking it even deeper with trippy vocal edits and tight production. Alden Tyrell & Serge turn the lights up with a bottom heavy remix. "Space Dub Work" closes in style with it's deep dubby breakbeat.

Blue Vinyl

Die Produzentin, DJ, Pianistin und Aktivistin LP Giobbi veröffentlicht ihr mit Spannung erwartetes Debütalbum, „Light Places“ auf Counter Records. Musikalisch ist LP Giobbi, eins der populärsten aufstrebenden Talente der elektronischen Musik, irgendwo zwischen ODESZA, Bonobo, Bicep und TSHA einzuordnen.

„Light Places“ entstand zu einem großen Teil zwischen den Wolken, in Flugzeugen hoch über der Realität und anderen Ablenkungen, wo LP Giobbi Ideen und Melodien locker niederschreiben konnte, bevor sie im Studio umgesetzt wurden. Der Aufnahmeprozess des Albums war eine Reise an sich, die sie auf neue Weise herausforderte und ihre künstlerischen Fähigkeiten über die Grenzen einzelner Singles hinaus erweiterte. Es erlaubte ihr, außerhalb der Tanzfläche zu experimentieren und zu erforschen, mit einer Verbindung zu ihren improvisierten Jazz- und Jam-Band-Grundlagen, womit alles einst begann. Auf „Light Places“ sind zudem beeindruckende Features zu Gast, wie bspw. SOFI TUKKER, Little Jet, Caroline Byrne, Monogem, DJ Tennis und Joseph Ashworth zu hören. LP Giobbi zelebriert die Freuden der Zusammenarbeit, der Improvisation und der Erschaffung von Musik durch Freundschaft - eine Hommage an die Menschen und die Musik, die sie als Künstlerin geprägt haben.

Bonobo alias Simon Green - heute einer der größten Namen in der Dance-Musikszene - tauchte erstmals Ende der 90er Jahre als einer der hellsten Sterne des Downtempo-Genres auf. Ursprünglich um die Jahrtausendwende veröffentlicht, ist Bonobos Debütalbum "Animal Magic" ein zeitloses Album und ein Kultfavorit unter den Fans geworden.

Aufgenommen auf einem Akai 4-Spur-Tonbandgerät, nimmt "Animal Magic" einen besonderen Platz in der Geschichte des in Brighton ansässigen Independent-Labels Tru Thoughts ein, denn es war das erste Album des Künstlers, das auf der Tru Thoughts-Compilation "When Shapes Join Together" debütierte. Bonobos Anfänge als talentierter DJ und Produzent begannen unter der Anleitung von Tru Thoughts A&R Robert Luis und seinen Label-Nächten in Brighton, wie z.B. phonic:hoop, wo Simon seine ersten Erfahrungen sammelte und begann, die ganze Nacht hindurch DJ-Sets zu spielen.

"Animal Magic" ist das Ergebnis von Simon Greens Zeit in der kreativen Küstenstadt Brighton und markiert einen wichtigen Meilenstein in seiner musikalischen Reife. Die Stadt übte einen entscheidenden Einfluss auf ihn aus und ermöglichte es ihm, seine Fähigkeiten als Drum-Programmierer und Produzent weiterzuentwickeln, während er unermüdlich als DJ in diesem kreativen Zentrum auflegte.

Während er in Brighton lebte, veröffentlichte Bonobo neben seinem kultigen Debütalbum "Animal Magic" eine Handvoll EPs und Singles wie "Scuba", "Terrapin" und "One Offs, Remixes & B-Sides" und legte mit anderen Künstlern von Tru Thoughts und Ninja Tunes in ganz Europa und Nordamerika auf.

Mit der Veröffentlichung von "Animal Magic" im Jahr 2000 wurde Simon Green als ernstzunehmendes Talent in der Szene bekannt, das der elektronischen Musik eine echte musikalische Note verleiht. Seitdem wurde Bonobo bei Coldcut's Ninja Tune unter Vertrag genommen und veröffentlichte sechs weitere Alben, darunter das GRAMMY-nominierte "Fragments" im Jahr 2022, während er seine DJ-Performance zu einer voll orchestrierten Live-Band weiterentwickelte, weltweit auf Tournee ging und zu einem beliebten Mainstage-Performer auf den größten Musikfestivals der Welt wurde.

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

Over the past decade Tuccillo has steadily honed his craft as a producer and is now widely known and beloved for his contemporary twist on raw groove driven House music which has found a home on the likes of Nu Groove, Kwench, Melodeum, Holic Trax his own Unblock label and of course Kaoz Theory where he returns here following 2023’s ‘The Waves’ EP.

Title-cut ‘Sundown’ leads the release on a deep house tip with a swinging drum groove, airy chord sequences, intricate filtered vocals and a funk-infused bass line. ‘Holding On’ then shifts gears into Chicago House territory via a bouncy bassline and dubbed out vocal chops, intertwined with a playful organ melody, tension building strings and skippy percussion.

‘Whatever’ then opens the b-side with a more stripped-back feel, laying focus on crisp, low-slung drums, hypnotic atmospherics, choppy dub stabs and an amalgamation of vocal murmurs. ‘Velvet City’ then concludes the EP, encapsulating the core aesthetic of deep house with wandering jazzy keys, ethereal pads, organic drums and rumbling subs all silkily ebbing and flowing amongst one another.

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

After reigniting Fruit Merchant and firing out a string of club-ready releases, Hidden Spheres is back again. This time teaming up with Private Joy for new floor-filler ‘Hold on Me’.

It's a track about being totally under someone's spell despite the relationship starting to turn and show its true colours.

Yearning reflections and hard realisations all served over two different mixes. One blending refined deep house rhythms and textures. The other is fierce, acid laced and driving, aimed at those peak moments in the club.

Repress!

Landing next on Toolroom is our most recent instalment in our 4-track vinyl sampler with some of our biggest recent releases including Kurd Maverick vs Adeva, Friend Within, Retna, Toolroom head-honcho, Mark Knight and label favourite, GW Harrison.

First up is Kurd Maverick vs Adeva who makes a huge return with the infectious 'In & Out My Life'. A straight up cut of 90's house & rolling tech house influences mixed into one, sampling cuts from the feel-good classic 'In & Out My Life' by Adeva, turning the original on its head.

Next on the sampler is fresh heat incoming from DJ and producer Friend Within, the artist behind previous toolroom hits 'Lonely', 'The Truth' and 'Waiting'. Having been a secret weapon of choice for the likes of Paul Woolford, John Summit, Dombresky and Danny Howard to name a few, 'Monkeys Bars' has been bubbling for months and is now set to blow!

London based producer Retna returns to the label with Mark Knight as the pair deliver a debut collab that's been carving up dance floors worldwide in 2022. 'What I Need' takes things to the next level, focusing on Retna’s raw, arpeggiated synth line that cuts through the records tough, chunky bassline and groove. Throw in Mark Knight's magic touch for creating top-quality, club focused productions that'll tear through any system it's played through, and you'll get their latest outing – 'What I Need'.

Abode resident DJ and frontrunner GW Harrison completes the package with latest outing, ‘Feels Good’, enlisting the powerful voice of Laura Davie, the vocalist behind some of Toolroom’s most popular releases from Mark Knight’s ‘If It’s Love’ to Illyus and Barrientos’ ‘Disco Hearts’. Feels good’ offers a summertime piano house belter featuring a staunch bassline and pumping groove that pushes that euphoric, hands in the air feeling to the max.

Four killer cuts that you will not want to miss, this is ‘Toolroom Sampler Vol. 3’!


Radio:

Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Alongside plays on Kiss Fm, Toolroom Radio, Sirius Xm, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse Fm, Select Radio, Tomorrowland Radio


DJ Support:

Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Dombresky, Gorgon City, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa

Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes

Following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March.

Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June.
Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in
exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’.

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

A side loops at 83 bpm
B side ultra-pitch loops at 133bpm
Deep cut, light flex, weighting in at 135g

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Operating from the depths of London’s musical underground since the late ‘90s, Infinity Plus One has been quietly toiling away, letting his music do the talking for the past two and a half decades. Cyphon Recordings draft in the veteran producer for a rare four-track EP of Detroit-infused, future-facing house and techno laced with the compelling lyricism of JaronX.

The Rebellion EP sees Infinity Plus One in some of his finest form to date. Leading the charge, ‘Context is Broken’ opens with JaronX’s poignant and passionate lyric on the state of global media, where sensationalism sells more copies than facts. From there, you dive headfirst into a hit of heavy-duty, contorted house. Crisp hats, punchy kicks and echoing stabs are interspersed with twisted electronics and JaronX’s arresting vocals. A sub-rattling bassline hits you square in the chest taking this neural club cut to the next level.

‘Say The Truth’ follows. A glitching, syncopated roller, woven with an entrancing monologue that is modulated and layered into tripped-out harmonies that echo around your brain.

On the flip side, ‘Identity Keeps Changing’ is a morphing techno weapon, where voices and synthesisers oscillate through different forms with every new turn. Rave-infused synth lines, breakbeats and a warped bassline channel that ‘90s warehouse flavour for a kinetic dose of dancefloor bedlam.

Rounding off the EP, the surging chords of ‘Utopia’ ping between your ears. A pulse that rides the kick drum, as dizzying arps and heavenly strings are layered into the mix to form a transfixing, gravity-defying techno immersion.

Fusing lyricism with the depth and dynamism of house and techno’s roots, Infinity Plus One hardwires meaning within his music. Visceral and thought-provoking, it’s a welcome respite in a sea of conformity.

Nachdem The National den Soundcheck für ihren Auftritt in Vancouver am 5. Juni 2023 beendet hatten, spielte die Band einfach weiter. Etwas braute sich zusammen: Die prägnanten Gitarrenparts von Aaron und Bryce Dessner trafen auf den Signature-Drumbeat von Bryan Devendorf. Als der Bassist Scott Devendorf loslegte, fing Matt Berninger an, einige Zeilen zu singen, die schon seit ein paar Jahren in ihm reiften. " Smoke detector, smoke detector / All you need to do is protect her", intonierte er. Ihr Tontechniker ließ die Aufnahme laufen und plötzlich war es ein 12 Minuten-Jam. Sie wussten, dass sie etwas Besonderes hatten, und nahmen die Live-Aufnahme bald darauf in Aarons Studio mit. Sie haben ein paar Minuten gekürzt, aber ansonsten das beibehalten, was auf der Bühne in Vancouver passiert ist. Dieser Song, "Smoke Detector", ist der krönende Abschluss von "Laugh Track", die überraschende zweite Hälfte eines Doppelalbums, das im April mit "First Two Pages of Frankenstein" begann. Es erwies sich als das letzte Kapitel eines Werks, das ansonsten neben dem Schwesteralbum geschrieben wurde - der Schlussakt einer Katharsis, die zeigt, was The National in den letzten drei Jahren durchgemacht haben. Vor zwei Jahren war die "Smoke Detector"-Zeile einer der wenigen Fetzen, die Matt während einer lähmenden Depression schreiben konnte und das zu einer Zeit, in der sich die Band fragte, ob sie jemals wieder ein Album machen würde. Nach der Pandemie belebte ihr neuer Glaube aneinander die kreativen Fähigkeiten wieder. "Weird Goodbyes", das bereits im August 2022 erschien, war ihr erster Durchbruch und der erste Vorgeschmack auf diese neue Ära. "Wir haben es wirklich schnell veröffentlicht, weil es wie ein Baby war, das in der Dunkelheit geboren wurde, oder so", lacht Matt. "Wir mussten es den Menschen zeigen". Aber als sie schließlich mit diesem umfangreichen Werk vorankamen, entschieden sie sich, "Weird Goodbyes" nicht auf das Frankenstein-Album zu nehmen. "Es fühlte sich an, als ob die Geschichte bereits erzählt worden wäre. Es war eine eigene Sache", sagt Aaron. "Aber es fühlte sich auch so an, als hätte es einen Bezug zu dem, was wir taten. Das war ein Teil der Logik für die Aufnahme einer weiteren Platte - wir wollten "Weird Goodbyes" ein eigenes Zuhause geben." "Laugh Track" ist das vielleicht musikalisch bedingungsloseste Album, welches die Band seit Jahren gemacht hat. Es ist aufmüpfig und dennoch leichtfüßig, doch es enthält ebenso viel seltene, ungebremste Schönheit wie Trostlosigkeit. Thematisch gibt es keine absichtliche Trennung zwischen "Frankenstein" und "Laugh Track". Während Matt auf "Frankenstein" eher auf der Suche nach einem Zufluchtsort war, hat er hier eine neue, klare Sicht auf das, was zählt. Sein dringendes Bedürfnis nach Intimität wird durch eine immer größere Angst vor der Unwirklichkeit des modernen Lebens noch verstärkt. Die Charaktere auf diesem Album (keine Vornamen, abgesehen von einer Tourmanagerin namens Alice - nur "ich" und "du") decken einander, träumen füreinander und helfen, den Schein zu wahren - und lösen damit das Versprechen von der gegenseitigen Fürsorge ein, das Matt auf dem Frankenstein-Schlusslied "Send for Me" gegeben hat. Wenn "Frankenstein" ein Zeichen für die Wiederherstellung des Vertrauens zwischen den einzelnen Bandelementen war, so ist das lebendige und neugierige "Laugh Track" das selbstbewusste Produkt dieses Prozesses und eine Absichtserklärung für jetzt und die Zukunft.

DIE legendäre LP von Ronnie April's Positive Energy, die er auf seinem Label Jude Records gepresst und nur lokal vertrieben hat, erscheint als Jazz Room-Reissue. Ein unglaublich seltener Heiliger Gral, der als Orignal für bis zu 300£ den Besitzer gewechselt hat. Der Tune "Snow~flake" ist seit Jahren ein fester Bestandteil der Jazz-Dance-Szene und Ronnie ein Komponist, Arrangeur, Produzent, Saxophonist, Klarinettist und Flötist, der mit Größen wie Tito Puente, Frank Foster, Nat Adderley, Lionel Hampton und Louis Armstrong spielte, um nur einige zu nennen.

Attention, aficionados of sublime pop music! Jim is, in fact, the older brother of pop singer Gerry Rafferty. Following two albums of sophisticated, melodic material with strong emphasis on vocal harmonies (not dissimilar to his brother"s work), Jim entered the 80s with no record deal, but good new tunes to shop. His original demos provided chart fodder for Frida (late of Abba), Clannad and Ian Matthews, but Jim"s versions outshine them all!"I See Red" was picked up by Phil Collins for Abba star Frida"s 1982 solo album.The flip-side of Jim"s "I See Red" has its own cover history - "Fear Strikes Out" first appeared on Ian Matthews" 1984 LP, Shook. Now, some 40 years later, the superior versions of these two Jim Rafferty originals arrive on a 7" single.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Head X'Change is the new album by Scythe, a long-distance collaborative project of David West and R.A. Jones. First appearing on two cloak-and-dagger cassettes distributed by Low Company in 2019 and 20, Scythe's "expertly modulated space blues and isolationist architectures" betrayed a uniquely sleep-deprived, DIY take on kosmische atmospheres, where brittle, decaying synthesiser loops found solace in endless trails of feedback and reverb. X'Change was recorded with modest instrumentation but grand ambition, recounting a journey, a memory... of leaving earth, a loved one, a body. Lifting off from tense, unnerving Tennessee, an ode is made to Genevieve, for perhaps the last time. Landing in eerily familiar valleys and amongst the lunar debris of Dawngarden and Superwillow, marvelling back at Earth inflicts a feeling of tininess and innocence, captured in the stargazing blues of Embryo. The titular track then marks a sudden inward trajectory and shift in mood: cool winds and amorphous bursts of black and deep blue emanate from fissures, ominously foreshadowing tunnelling paranoia. "Mark, Ring Me" is a distant plea for human contact... but it may all be too late, for the aching psychedelia For Iris grieves alone into the abyss. For fans of Cluster, Craig Leon, Pete Namlook, space travel...

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.