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Miss Tiny is a brand-new musical project featuring acclaimed record producer and Speedy Wunderground label founder Dan Carey (Wet Leg, Slowthai, Fontaines D.C.) alongside Ben Romans-Hopcraft of Warmduscher / Insecure Men / Childhood fame.

A spiritually, and methodically united front, Miss Tiny’s universe is a thoroughly explored romance between heritage, rebellion, and years old friendship; a triptych of variables all gravitating towards one signalled output, with no real sense of time, or external pressures. Having spent the best part of a decade orchestrating haphazard jam-sessions, Carey and Romans-Hopcraft would eventually go on to discover a fundamental principle of their own. One which would come to define Miss Tiny, throughout her various forms and guises.

“We called it anti-recording,” continues Carey. “Only doing it for the pleasure of doing it”. When fully committing to this practice, the music meticulously follows two courses; refine, or degrade. Perfect the moment, or let it go; never to be heard, or re-lived ever again for fear that the action of pressing record, would inevitably take ownership of the occasion and lead the experimentation into a downward spiral towards something all-together tangible.

The irony of a seminal producer and critically revered musician banding together out of mutual distaste for recording, is not one that’s gone amiss. In fact, they’ll be the first to proudly call it into question- and yet still, Miss Tiny holds her own despite all peripheral associations, and would eventually go on to be documented. These aren’t ‘sit-down-and-write-a-song’ kinda songs. These spurts of spontaneity which would, in time, ultimately form the duo's debut EP ‘DEN7’, are years’ worth of trial and error. Trial and elation. A process in which strong technique and melodic-manipulation are the sole foundations required to reinvent the meaning of memory; be it guitar and drums, or flesh and blood.

Produced and recorded at Carey’s ‘Speedy Wunderground’ studio in Streatham, ‘DEN7’ is a masterful introduction to a group whose members need none. Through chopping, editing, and re-defining their improvised segments into songs which they could eventually go on to learn, Carey and Romans-Hopcraft by chance, stumbled upon gold-dust. Like Alice and her looking glass, our two protagonists effortlessly pass through all notions of engineered logic in order to see beyond the expected. The bigger picture perhaps. Or the magic in the small things that matter most.

Mick Flannery is one of Ireland's most acclaimed songwriters and singers
The award- winning, double- platinum selling artist has released seven studio
albums, three of which have reached No. 1 status.
On September 15th he will release his eighth studio album 'Goodtime Charlie'.
Featuring collaborations with Valerie June, Anais Mitchell and Tianna Esperanza.
Mick has partnered with US Label Oh Boy Records, which for them will be their
first non-American signing.
"Mick Flannery has a voice for the ages, a complete Master of his craft" cited by
Clash Magazine, whilst The Sunday Times said he "conjures up exquisite storytelling." His last album in 2021 consisted of a collection of duets with up and
coming Irish artist Susan O'Neill. American Songwriter called 'In The Game' a
"Sorrowful Masterpiece." The record was nominated for the Choice Music Prize,
and won the RTE Radio 1 song of the year two years in a row for tracks 'Baby Talk'
and 'Chain Reaction.' The album was the biggest selling independent record in
Ireland in 2021.
Mick Flannery's songs are fluent in expressing layered aspects of the human
condition, its flaws, triumphs, and general uncertainty. Originally a stone mason
by trade, he once described his stage presence as that of a 'Mountain goat'
however over the years that shy awkwardness of said mountain goat has started
to dissipate. His live shows are renowned for his self- deprecating humor,
audience engagement and the ability to bring people on a journey of both
heartbreak and joy, often in the same instance

With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Schallplattensammler haben sie eifersüchtig gehütet, die Original-LP „Träume heißen Du“, so der damalige Titel des Cole-Porter-Albums von Hildegard Knef. 28 Wochen hielt es sich auf den vorderen Rängen der Charts. Heute ist die Scheibe ein absoluter Klassiker. "Sei mal verliebt" ("Let's Do It), "Nichts haut mich um ­aber du" ("I Get A Kick Out Of You") und "Ich bin leider viel zu faul" sind aufgrund ihrer humorvollen, aber auch emotional-nachdenklichen Übertragungen unübertroffene deutsche Versionen aus dem American Songbook. Hildegard Knef singt Cole Porter wurde nun wieder neu aufgelegt und erscheint als Gatefold-2LP auf rotem Vinyl und als 1CD.

Erste offizielle Vinyl-Neuauflage.

POP TRASH war das 10. Studioalbum der englischen New-Wave-Band DURAN DURAN. Es wurde ursprünglich am 19. Juni 2000 veröffentlicht und ist seit der Erstveröffentlichung auf CD nicht mehr zu erhalten. POP TRASH war das letzte Album der Band, auf dem das Trio Simon Le Bon, Nick Rhodes und Warren Cuccurullo. Das Album Artwork, das von Andrew Day entworfen wurde, zeigt einen mit Strasssteinen verziertes Auto, das Liberace gehörte.

Curve were an English alternative rock and electronic music duo from London, formed in 1990 and split in 2005. The band consisted of Toni Halliday (vocals, occasionally guitar) and Dean Garcia (bass, guitar, drums, programming). Halliday wrote the lyrics of their songs and they both contributed to songwriting. Producer Alan Moulder was a prominent collaborator who helped shape their blend of heavy beats and densely layered guitar tracks set against Halliday's vocals.

Doppelgänger is their debut studio album from 1992 and is a continuation of the musical idiom established by the group on its three earlier EPs. Doppelgänger combines elements of dance music and alternative rock with the reverb-laden and distortion-heavy stylings of shoegaze. The album reached No. 11 in the UK Albums Chart and spawned the two singles "Faît Accompli" and "Horror Head".

Doppelgänger is available as a limited edition of 2500 individually numbered copies on translucent orange marbled vinyl and includes an insert.

Third season and third album in 2023 for infamous french punk legends Ludwig Von 88. That's what happens when you turn 40. In one year, you make up for everything you haven't done in four decades. And since Ludwig Von 88 have always done a lot, they catch up a lot. After "L'Hiver des Crêtes" ("Winter on the ridges") and "Le Printemps du Pogo" ("Spring's Pogo"), here comes "L'été du No Future!" ("Summer of No Future").

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

We want to celebrate the 5th Volume of our best series "Raving Disorder" in a special way.
Our Boss D. Carbone choose 6 of his favorite Artists on the label to make a Collab with each one.
DSTM, d_b, Hypnoskull, Lucas Campagna, SDBX, and Valerio Innorta are the mans who joined the boss in this amazing feature it creates a don't-miss duty bomb for your night.

A1 Never Stop The Raveolution is a dark and heavy techno banger that takes the mentality of D. Carbone and DSTM and brings it furthermore in the Techno Revolution Aim.

A2 The boss meets the mysterious d_b again after their debuts on Green Fetish Records "The Bad Dance" is a groovy Banger singed by d_b himself accompanied by powerful kick and 90's groove with dystopian noises and bells deliver the Kaos.

A3 D. Carbone featuring one of the most underground legends in Techno Hypnoskull with "We are Stronger".
The track is a Hymn against capitalism, a selfish attitude, and all the bad things of the Modern Era.
Listen deep to it!

B1 Starts with "Social Pressure" along with boy Lucas Campagna who meets the boss to create an absurd heavy banger, dreamy, powerful, complex, and modern make this a don't-miss bomb in your collection.

B2 is "Pitch You Back" along with SDBX a truly hit played by D. Carbone in almost every set during last year, is the first of long series of heavy hitters by this duo who is already working on EP, since the first listen to this track will be unforgettable.

B3 "Push Your Back Spin" is the Collaboration with the Roman hardcore boy Valerio Innorta, as the title says this track will let your back spin a heavy dance, the track came out after last Valerio's release on Carbone Records and blends in a perfect way this new style with the D. Carbone powerful sound.

Don't miss this vinyl, limited to 300 Marbled blue.

Rave On!

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

Darkwave artist Harsh Symmetry returns with sophomore album "Imitation" via Fabrika Records. Los Angeles-based musician Julian Sharwarko has swiftly carved out a commanding presence with his darkwave project. Sharwarko's adeptness at bridging the gap between the past and present is palpable, as he seamlessly blends influences from genre titans such as Depeche Mode, The Cure, New Order, Echo and the Bunnymen, The Teardrop Explodes, and Human League, while also incorporating elements from contemporary acts like Twin Tribes and Boy Harsher. Harsh Symmetry's second album, "Imitation," spans the chasm of darkwave and synthpop, a world-weary modern album, warmed by the solid embrace of nostalgia. Astonishingly, the entire album was entirely recorded and performed by Shawarko, in a remarkably quick turnaround from his last year's critically acclaimed debut album, 2022's "Display Model." Releasing a new album every year during the 1980s was par for the course with bands like The Cure and Siouxsie and the Banshees, as well as other highly prolific bands such as his labelmates Lebanon Hanover, but this level of artistic output is rarely matched today. "A lot of the material was informed by isolation and struggling with the paradox of wanting to be original yet feeling like your entire identity is built on mimicry," he admits. "The album was recorded as I was preparing to move out of the city I grew up in, I guess that kind of nudged me to think about what I'm doing more, and the place my work might have in the world." That mindset led to a pleasant surprise during his recent tour, which he describes as a 'really interesting and exciting experience.' This year, Harsh Symmetry graced the stages of Wave Gotik Treffen and the Grey Scale Festival in Munich, to much audience acclaim, cementing the project's status as an essential artist in the international darkwave scene. Genre: Alternative / Post-punk / Darkwave

Label head P.Bud returns to Aronia Records with a four track EP of club ready tracks. Recorded between New York and Toronto over the past two years, the EP takes inspiration from the sounds of both cities, flowing between house, techno, and breaks. The A1, Dopen, opens with a dubby pad and unfolds into a grooving deep house cut. Non-Terra ups the tempo with skittering percussion, silky pads, crystalline stabs, and a deep bassline. On the flip, Ontech (Perc Mix) builds on the energy with a catchy lead, accompanied by a driving bassline, swinging percs, and warm pads. Enttt closes the record and cools us off with lush chords contrasted by breaks and sub bass. Four tracks for four moods, enjoy!"

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Eine 2-CD-Neuauflage von HAIMs Debütalbum Days Are Gone (2013), die den ersten Platz in den Charts einnahm, zur Feier des 10-jährigen Jubiläums. Mit den sechs Singles „Forever“, „Don’t Save Me“, „Falling“, „The Wire“, „If I Could Change Your Mind“ und „My Song 5“ wurde die Platte seit ihrer Veröffentlichung nicht mehr neu aufgelegt Veröffentlichung im Jahr 2013. Das Album ist in einer völlig neuen Verpackung untergebracht und enthält eine von der Band zusammengestellte Titelliste ihrer Lieblingsdemos und Remixe sowie ein exklusives ausklappbares Poster. Auch als coloured 2LP erhältlich.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Despite his popularity in Peru as a famous comedian, Melcochita devoted himself to music for many years and worked as in-house studio musician for the label Discos MAG, taking part in countless sessions. This album was recorded between 1967 and 1968, accompanied by the orchestras of Betico Salas, Joe di Roma, Nilo Espinoza, Carlos Muñoz and Tito Chicoma. The album comprises amazing guarachas, mainly international hits, and the hilarious bolero 'Cobardía' where Melcochita brings in his comedian talent. First time reissue! - Back in 1968, the year "Dejen bailar al loco" was released, Pablo was still known as Pacocha (the name of a popular brand of soap) and worked during the day as a session musician for the MAG label. At night, from eight to six in the morning, he used to play percussion in clubs. Then, at the weekends, he performed on the popular variety show La Peña Ferrando, which featured "Quality acting; very funny, simple sketches", impersonations and musical performancs. Most of the guarachas on the album are international hits, such as 'El limoncito' and 'Pa' gozá candela'. The track, 'Quiero casarme contigo' has Mexican origins, and it has been adapted to guaracha style by Betico Salas' orchestra. The humorous 'No es un gato' hails from Colombia, while 'Ahorita va a llové' and 'Carta de mamita' come from Cuba. 'Dejen bailar al loco' and 'Libre de pecado' are also from the Caribbean Island. 'Cobardía' and 'Dos almas' are classic boleros, which were already part of the repertoire of most singers back then and were also included on this album. The only way to perform them to the demanding audience at La Peña without being booed was to put a new spin on the songs, deconstruct them and reinvent the structure, as the Tito Chicoma and Joe di Roma orchestras did, and above all Melcochita, who sang them in a supernatural voice and a created Creole scat that must have wowed the audience, who would then burst into applause and laughter, going home happy after a great night out.

Imprint is the 1st V/A on MBMUSIC LTD. and features tracks from artists that inspired the concept of the label and comes in both digital and vinyl format. 5 Tracks to reflect the inner voice of the artists involved and their musical imprints, expressing themselves thru sound. A1.

Track "Contemplate" is signed by DanielI very well know for his great production skills with dub/ambient texture and deep groovy rhythms. A2. "Crystalline" by label head MBM showcase his musical taste for harmonies and slow-deep beats, a track that suits perfectly for club and listening environments.

B side opens with track "Peal Of Nian" by Polygonia, an artists that very well respected in the scene for her specific sound inspired by nature and plants giving us a pure gem for the record. B2. "Toki Fuko - 9128" goes deeper into the abyss with a more hypnotic approach perfectly reflecting the style of the artist. The release closes with B3. track from emerging Vyria: "Dome" track combines tribal rhythms and sounds with drive and subtle distortion to open new perspective on label sound.

After his much-acclaimed Deutsche Grammophon début Arias (“This disc is quite simply a sensation”– BBC Music Magazine), Chilean-American tenor Jonathan Tetelman turns his attention to Giacomo Puccini, to mark the centenary of the composer’s death in 2024. For Tetelman, Puccini is one of the greatest of all composers of Italian opera: “I listen, study and enjoy his music daily. There is always something to learn from him, and my mind is forever open to him. Without Giacomo Puccini, opera wouldn’t be the same. Grazie, Maestro!”. Celebrating the very best of Puccini , the album is released to mark the 100th anniversary of the death of one the world’s most popular opera composers.The album consists of well-known tenor arias such as Nessun dorma, E lucevan le stelle, Donna non vidi mai and Che gelida manina, popular ensembles from "Madame Butterfly", "La bohème" and "Il tabarro" as well as rarities such as Torna ai felici from "Le Villi" and Parigi nè la città dei desideri from "La Rondine".

Live is not just the 15th album by James Taylor, it's also the singer-songwriter's very first live record. Recorded during a tour in November of 1992, the multi-platinum album was originally released in 1993 and peaked at number 20 on Billboard magazine's Billboard 200.

A live James Taylor album had been suggested, demanded and contemplated for many years. But never had all the necessary elements fallen into place together. Until the tour that had been planned specifically to record this live album.

The best performances from 14 shows were chosen, mixed and assembled into this record. The double album includes such James Taylor tunes as 'You've Got A Friend', 'Something In The Way She Moves', 'Country Road' and 'Fire And Rain'.

With fully remastered audio, this double album is available on vinyl for the very first time!

Daptone bzw Soul/R&B/Reggae Fans dürfen sich freuen! Victor Axelrod, legendärer Produzent, Arrangeur, Aufnahme- und Mischtechniker, sowohl als auch Keyboarder hat bereits über mehr als zwei Jahrzehnte diverse Veröffentlichungen des New Yorker Labels veredelt.

Mit 'If You Ask Me To...' erscheint nun die erste LP unter seinem Namen für das Label - eine exzellente Sammlung an Singles, die zwischen 2007 und 2023 veröffentlicht wurden, sowie unveröffentlichten Tracks von Sugar Minott und Binky Griptite. Der Ursprung des Albums liegt in einer Anfrage von Daptone nach einem Sharon Jones-Remix (2007), aus dem die Reggae-Version von 'How Long Do I Have To Wait For You?' hervorging. Dies öffnete die Tür zu weiteren Erkundungen von Reggae/Soul-Synergien innerhalb des Katalogs und bestätigte die musikalische und kulturelle Verbindung zwischen Daptones 'Kern-Soul-Sound' und Axelrods Leidenschaft für jamaikanische Musik. Dank Axelrods außergewöhnlichem Geschmack und den bemerkenswerten Beiträgen des Gitarristen Tom Brenneck, Originalbändern aus Bob & Genes MoDo-Diskografie, Mitgliedern von The Frightnrs u.a. aus der New Yorker Reggae-Community wird das Vermächtnis bahnbrechender jamaikanischer Künstler wie Alton Ellis, Tony Gregory und Ken Parker weiterleben und eine ganz neue Generation von Reggae- und Soul-Fans inspirieren.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Repress!

1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO INCLUDING ITS STUNNING FULLY ILLUSTRATED
8-PAGE BOOKLET

His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording "Venus" that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Fusion Jazz predating Vaporwave by a mere 30 years. Wewantsounds is delighted to reissue this visionary album, which
comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.
The early 80s were prolific for Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked on Akiko Yano's "Gohan Ga Dekitayo", YMO's "BGM", Ryuichi Sakamoto's "B-2 Unit", Mkwaju Ensemble's "Mkwaju" and found time to record two Logic System albums in 1981. While the first album, "Logic" had a harder techno feel, the second one "Venus" was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album.

The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7.

The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

The other key elements of Venus is the artwork designed by Japanese legendary illustrator Pater Sato. Sato had started in Japan in the early 70s doing many album covers for Japanese artists including Tatsuro Yamashita's cult Spacy LP before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years and in 2018, Stella McCartney dedicated a whole Men’s collection based on his Venus. Star make up artist Pat McGrath also regularly posts his artwork to her 3 million fans on her instagram.

The original album came with a beautiful 8-panel insert illustrated by Sato which Wewantsounds has reproduced on this deluxe reissue also featuring remastered sound, OBI strip and a second insert featuring credits and line up plus liner notes by Hashim Bharoocha. The notes will feature an exclusive interview with Hideki Matsutake reminiscing about the making of this visionary album which Wewantsounds is delighted to reissue.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

Brotherhood Of Peace (aka B.O.P.) brought the world some of the best breezy power pop, Southern rock and heavy boogie all packed into one brilliant album in 1976, the fittingly titled Cuttin’ Loose. The album is a free-flowing nine song collection of genre blending would-be hits suited for both ’70s AM gold and FM album rock that never received its proper due, until now. The album flows somewhat similar to the way Big Star combined heavy riffs with airy pop sweetness, but B.O.P. brought more of a blues rock groove to the proceedings, resulting in heavier undercurrents to songs with glowing three-part harmonies and impeccable power trio musicianship. By the mid-’70s, rock ’n’ roll was truly anything goes. Experimentation, excess and inventing new genres was all the rage, and the trio of spritely young men—guitarist / vocalist Dennis Tolbert, bassist / vocalist Mike Arrington and drummer / vocalist Ronnie Smith—gamely tackled whatever sound they pleased. Fortunately, the band captured it all on their lone album, released on the small independent label Avanti Records in March 1976. The Mount Airy, North Carolina trio got its start as teens in 1969 as the backing band to a large 20-50 person traveling church choir called the New Americans. By 1970, the band was ready to move on to performing on their own. First as a sextet, the band soon trimmed down to a three-piece, working the local club circuit like madmen, sometimes playing three shows a day. At the height of their live tightness, B.O.P. recorded the album with local musicians Don Dixon and Robert Kirkland of the band Arrogance who worked at Charlotte recording studio Reflection Sound in October 1975. The band laid out the highlights of their live set in the studio, which ran the range of influences from The Raspberries to Deep Purple, Doobie Brothers to Nazareth, Lynyrd Skynyrd and Grand Funk. The initial pressing of 1000 copies was released in March 1976, but without major label machinery for retail distribution, radio and press, the album never took off. The band mostly sold them at live shows, via consignment at local stores and in limited distribution in the Southeastern region. However, to date, the record still occasionally pops up for sale online worldwide at exorbitant collectors’ prices. Until now, finally getting a proper reissue via Riding Easy Records.

Blues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living. The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - Sight Gags On The Radio 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

This new double LP version restores the track “Deep Sky Objects” to the original running order of the album as it was left off of the original single LP version due to side length restraints. This is the first time this album has been available on vinyl in almost two decades, and the first time the Drop EP has been available in any format since original release in 1994.

At the same time, Kranky is making the CD version available once again for the first time in many years, with the Drop EP tracks also included.

The debut album from New York City’s Bowery Electric was released by Kranky in late summer 1995 after they came to the label’s attention via their self-released 2x7-inch Drop EP from the year previous. The first in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener finds them in their most raw form.

“The perfect realization of their aesthetic, each word and chord tuned and focused for maximum impact.” — Pitchfork

“Genuinely hypnotic.” —The Wire

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

When you're doing business, you always need a Plan B. Most of the songs of this album were written during the Covid 19 Lockdown time.

And because of that, we thought about releasing a digital album. The plan was to do this album with my band "The Goosebumps Bros".

This would be the first joint album that I produced with my band and the first digital only album. But things changed again, and there will also be a CD and vinyl release of the album. And this is another reason why we called it Plan B.

Our first plan was changed due to the circumstances of life / business. So now we're definitely running with the name Plan B You know, sometimes Plan B is even better than the first plan, and this is definitely the case with this album. The songs for Plan B are written and composed by myself and The Goosebumps Bros.. Songs of soul, blues, roots and life. Songs that will strengthen your faith. Our goal is to make you smile. Hope you will enjoy listening to our Plan B. I am very happy with this Plan B.

After a busy and prolific work on his acoustic-electronic project and soundtrack compositions, Mischa Blanos wears again his clubbing outfit, returning with a three track EP for his techno and live electronics awaiting crowd in the dancing arena. Linear EP evokes the ethereal experience of clubbing, where time feels like grinding to a halt as if plunging through an open door into a new world.

Taking the vantage point of the dancefloor, Mischa Blanos recalls entering this space where time doesn't play a heavy role anymore. Be it two hours or eight in a nightclub, be it day or night, dusk or dawn, one doesn't seek time traveling but time stopping, as a way to relieve the time burden in our high-speed society. We tend to perceive that time is running at a faster pace, but time itself does not pass, what passes are things and living beings. Time is neither linear nor circular, time does not flow or move, but allows us to do so. And it is here on the dance floor that this reality can be felt.

Everything is moving, vibrating and changing from the flashing lights to the loud decibel kicks and everyone is both audience and performer on the stage. They all belong to the scene. Sometimes this could mean an individual experience, being completely absorbed in dancing or a parallel space, and other times it means togetherness, feeling an integral part of the experience. In his techno dedicated Linear EP Mischa Blanos speaks about clubbing as a form of escapism, but a form that can help us to reach a better understanding of our relationship with time.

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

Der OST von Howie Lee zum Kung-Fu-Brawler 'Sifu' (2022), mit 30 pulsierenden, speziell für Vinyl gemasterten Beat-Tracks. Als experimenteller Clubmusikproduzent und DJ lässt Lee traditionelle chinesische Instrumentalpaletten mit elektronischen Synths und Samples verschmelzen. Gongs, Gamelan, Bambusflöte und chinesische Percussionsets verflechten sich mit Klängen von Dub, Techno und Drum&Bass zu einem Soundtrack, der vor Spannung und Rache strotzt. Rotes und schwarzes 180g Doppelvinyl im Gatefold-Sleeve.