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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

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

New Life is an album by Big2, released in 2021. New Life includes a.o. the following tracks: “Hoofd Heet Hart Koud”, “Ruimteschip”, “Dansen Met Mij (big2 & Antoon)”, “Kleine Man” and more.

The hip-hop album is available in the following configurations:

LP, Coloured Vinyl

CAMOUFLAGE COLOURED VINYL


Zeer gelimiteerde gesigneerde versie (100 stuks). Big2 (Twan van Steenhoven) is rapper en producer en is tevens de helft van de populairste hiphopact van Nederland; The Opposites. Op zijn nieuwste plaat is de transformatie naar zijn leven als pas geworden vader te horen. Voor het eerst rapt Big2 over zijn zoontje, die voor het album als grote inspiratiebron heeft gediend. ‘New Life’ bevat hits met Big2’s keiharde onmiskenbare sound en persoonlijke tracks met een nieuw geluid evenals klassieke hip-hop tracks op échte kenmerkende Big2 beats. Met gastbijdrages van o.a. Josylvio, Winne, Sticks & Antoon mag deze klassieker niet ontbreken in je platenkast.. Eerder verschenen al de tracks 'Denk Er Niet Meer Over Na', 'Vogelvrij' feat. Josylvio en Sticks en het meest recente 'Life Goes On'.

This is the first official reissue of The Candles Burning Blue’s highly appraised cult album Pearls Given To The Swine. For two decades the original CD pressing has been sought after but nearly impossible to find. Known for their violent and chaotic gigs, The Candles Burning Blue were an unconventional Gothic Rock band. Instead of romantic beauty they dealt with the harsher aspects of the darkness oozing from their own troubled lives. Even though they only released two CD-r, a split 7” and one full album, their impact on the Finnish Goth underground was a lasting one. Pearls Given To The Swine was recorded in 2000 and released in 2001 on CD, with only 500 official copies pressed. Some years later new copies appeared from shady sources, but basically the album disappeared from the face of the Earth. In 2001 the band started to work on the second album Pleasure Dome and also had some material recorded for the projected third album Abhorrence, but ceased to exist before any of this material was released. Until now. This reissue has a full length bonus disc consisting of these songs. The Candles Burning Blue had its roots firmly in Gothic Rock as performed by bands like Bauhaus, Christian Death, Virgin Prunes and The Cure, but they mixed in elements of experimentalism and art rock. Pearls Given To The Swine is a lost and found classic of Finnish Gothic Rock, and a fine example of Finnish dark culture around the turn of the millennium. Members went on to play in bands like Reverend Bizarre, The Puritan, Werwolf Lodge and Opium Warlords, but never reunited.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Limitierte Auflage Neon Violet Vinyl! Kari Faux ist nicht zu bremsen. Die aus Arkansas stammende Künstlerin kehrt mit ihrem dritten Album REAL B*TCHES DON'T DIE! zurück, einer 12-Track-Ode an ihre Südstaaten-Wurzeln. Die LP verwebt Karis knackige Produktion mit ihrem lässigen und herrischen Flow, gleitet mit Leichtigkeit durch ihre Dirty South-Wurzeln und verweist auf Outkast und UGK als Einflüsse, während die Femcee ihre Macht behauptet. Die Rapperin und Singer-Songwriterin hält den regionalen Vibe mit ihrer unverschämt dominanten Energie im Herzen ihres neuesten Werks authentisch. Karis Exzentrik wurde auf ihrem 2020 erschienenen Album Lowkey Superstar hervorgehoben, auf dem sie die Hörer mit ihrem verführerischen, aus Arkansas stammenden Akzent und ihren schwungvollen Arrangements faszinierte. Auf REAL B*TCHES DON'T DIE! hat sich Karis einzigartiger Blick auf die Welt und ihre Vision nur noch erweitert, was die Künstlerin auf die Verfeinerung ihres Handwerks zurückführt. "Lowkey Superstar felt very Southern - it was me getting super-immersed back into southern rap and gospel music," sagt sie und fährt fort "Since I've been in this space for over two years now, it's like, Let me keep refining this and making it better." In der gegenwärtigen Hip-Hop-Landschaft stehen weibliche Rapperinnen unangefochten an der Spitze. Methodisch in ihrer Herangehensweise an die Musik - und selbstbewusst in ihrem Ansatz, authentisch zu leben - fühlt sich Kari in der wachsenden Wiederauferstehung von Frauen im Rap zu Hause. Auf REAL B*TCHES DON'T DIE! erinnert Kari Faux die Hörer an eine unbestreitbare Wahrheit: Der Süden hat etwas zu sagen.

Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.

JOACHIM WITT ist eine Lichtgestalt der deutschen Kulturszene. Seit über 40 Jahren steht der erfolgreiche Musiker auf der Bühne. In diesen Jahrzehnten hat er eine enorme Wandelbarkeit bewiesen. 17 Alben veröffentlichte Joachim Witt seit 1980. Beginnend mit "Silberblick" und der Auskopplung "Der Goldene Reiter" (Gold-Status) in der Zeit der NDW, über das 1998 erschiene Comeback-Erfolgsalbum "Bayreuth I", das Platin Status erreichte, bis "DOM" in 2012 mit der Singlekopplung "Gloria" und dem kontrovers diskutierten Video, seinen Auftritten beim Wacken Open-Air oder auch seiner jüngst entdeckten TikTok-Karriere: Der 74-Jährige gebürtige Hamburger ist ein Garant für Vielseitigkeit, Genre Wechsel und Stil-Mischungen.

Sein neues Album trägt den Titel "Der Fels in der Brandung" . Keine Metapher passt zu JOACHIM WITT persönlich besser: Der Ausnahmekünstler hat im Laufe seines Lebens immer wieder Veränderungen unternommen, unzählige Herausforderungen gemeistert, Höhen und Tiefen durchlebt und dabei seine künstlerische
Integrität fortwährend bewahrt.

JOACHIM WITT nimmt sich immer wieder neuer Visionen an und verwirklicht diese konsequent.

"Der Fels in der Brandung" ist ein Album, das seine Zuhörer auf vielen Ebenen überraschen wird. In enger Zusammenarbeit mit dem Flensburger Gold-Produzenten Hardy Krech (Elephant Music), hat JOACHIM WITT wieder einen neuen und eigenen Sound kreiert, der seine Stärken und seine Botschaften in eindrucksvoller Weise mit elektronischen Klängen und Gitarrenmelodien verwebt

Auf den Golden Records, die die Voyager-Missionen 1977 ins All transportierten, um außerirdischen Lebewesen unter anderem ein musikalisches Bild der Erdenbewohner zu vermitteln, waren zum Beispiel Werke von Johann Sebastian, Ludwig van, Wolfgang Amadeus, Chuck und Louis verewigt.

Mission Not Accomplished, …. yet, we lost control! Zeit für einen neuen Anlauf mit Space-Jazz von Sebastian Gramss’ STATES OF PLAY: METEORS - message to outer space. Ein vielschichtiger Bericht von der Erde in Ton & Text 45 Jahre nach den ersten NASA-Missionen als Doppel-Vinyl in 180 gr. auf clear orange & clear blue vinyl im Klapp-Cover mit bedruckten Inner Sleeves.

Shannon Barnett - trombone; Hayden Chisholm - saxophone; Philip Zoubek - piano, synthesizer; Christian Lorenzen - e-piano, synthesizer; Sebastian Gramss - double bass; Dominik Mahnig - drums plus guests (2022 wurde das Ensemble mit dem Deutschen Jazzpreis ausgezeichnet) A recording that will last!

Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Das dreiköpfige Grunge-Rock/Punk-Trio The Pleasure Dome aus Bristol (Großbritannien), bestehend aus Bobby Spender (Gesang und Gitarre), Loz Fancourt (Bass und Backing Vocals) und Alex 'Bert' Elvin (Schlagzeug) gründete sich im Juli 2019. Sie sind bereits ausgiebig durch Europa und Großbritannien getourt und waren Anfang des Jahres Headliner bei Supersonic in Paris, wo das Publikum vor ausverkauftem Haus Schlange stand, um ihre Live-Show zu erleben. EQUINOX wurde im Februar 2023 in Wales in den abgelegenen Mwnci Studios aufgenommen. Produziert wurde EQUINOX von einem Freund der Band, Tom Smith, gemischt von James Trevascus (Beak, Billy Nomates) und gemastert von Jack Endino (Nirvana, Mudhoney).

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Was als Lockdown Homerecording Projekt von Lars Schmidt Subterfuge begann, ist mittlerweile zu einer passablen Band aus alten Bekannten herangewachsen durch Christoph Schneider Klee, Clayton Farlow, Soccer, Philipp Breuer [Pale] und Mark Specht [ehem. Subterfuge]). Mit Don'ts and Dos liegt nun das Debut-Album vor, welches am 25. August digital sowie als CD und Anfang Oktober auf Vinyl über Subjangle und Less Records erscheint und über Cargo vertrieben wird. Nach der hochgelobten Simple EP im letzten Jahr (drei dieser Tracks sind als neue Versionen auf diesem Album zu finden) ist The Radio Field zurück, um uns mit ihrem Debüt "Don'ts and Dos" eine Art musikalische Archäologie des Jangle-& Twee-Pop der 80er und 90er Jahre zu liefern, mit herrlich knackigen, klaren, hochmelidiösen Riffs plus des den einehmenden Vibes des College-Rocks, welcher nie weit entfernt anklingt. "Die Songs von The Radio Field bohren sich wie ein kleiner fieser Alien-Wurm durch meinen Gehörgang direkt in das Wohlfühlzentrum meines Gehirns - und bleiben dort für immer! Schon das Debüt 'Simple EP', die Lars (man kennt ihn von der institutionellen Düsseldorfer Band Subterfuge) noch ganz alleine eingespielt hat, war grandios, jetzt kommt endlich das erste Album. Die zehn im Domblick Studio von Bassist Christoph in Köln eingespielten und mit einigen prominenten Gästen (Robert Stadtlober, Stefanie Schrank, Phantom Handshakes, Bukahara) veredelten Stücke sind durch die Bank weg Hits! Und Ohrwürmer! Und Meilensteine! Oder wie nennt Ihr denn Songs, die ihr sofort mitsingen und niemals vergessen könnt?" MARK KOWARSCH (ANTIKÖRPER AUF BYTE FM, SHARON STONED)

Directly from Brazil, Data Assault steps up to deliver a fast paced 5 track EP, featuring a remix from the outstanding Martinelli. The artist has a solid career of sonic experimentations that are fueled by a radical stance, with productions that inevitably find their way into clubs and sound systems all around the globe. Besides producing his own parties that have been making waves in the local scene in Brasilia.

"Dor e Miseria" is inspired by the Brazilian socio-political disaster which occured from 2018 to 2022, bringing beats treated with lots of compression and distortion, accompanied with aggressive vocal chops and melancholic pads. His fierce production style is joined by Martinelli, who's remix completes the picture and makes an interpretation that delivers everything with a simple approach, combining 808 drums, funky basslines and an impeccable percussive movement.

"Movida Pelo Odio" e "Euforia Sinistra" discharge influences from the dirtiest beats of Grime and 8-Bar Techno, with aggressive synths interspersed by acidic elements that dominate the sonic image of the EP. The last track "Furia Funk" closes with heavily compressed and saturated 909 drums, and 303 acid lines screaming loudly.

Colombian producer Faunes Efe known under his moniker Filmmaker, is one of the most productive and vital producers in the EBM, Industrial, Synth-wave and Electro community. He has quickly built a cult following amongst those with an affinity for dystopian electronics drenched in seductive darkness.

After more than 20 records within a 5 year span, Filmmaker keeps running engines with “Machinations”, a mini-album containing 7 cuts that blast a mechanical blend of Electroclash and Minimal Synth. This ride of prominent square waves, robotic beats and detuned atmospheres is born from mainly two instruments: a Syntakt & a processed guitar.

At the 1973 Cannes Film Festival, a feature-length animated film caused a sensation and won the Special Jury Prize: La Planète Sauvage by René Laloux, with phantasmagorical drawings by Roland Topor. For this philosophical tale of anticipation, where men are used as domestic toys by blue giants, the Draags, the celebrated composer Alain Goraguer unleashes his inspiration with a haunting main theme of great melodic clarity, soaring and hypnotic atmospheres, but also pursues funky rhythms with wah-wah on guitar, as if reaching out to Isaac Hayes from Shaft. Over the decades, the acclaim of La Planète Sauvage has been growing in crescendo, both the film and its score, revered by new generations as a psychedelic summit, an Everest of French pop. Artists from the new world, from rap and hip-hop cultures, such as A$ap Mob, Madlib, Mac Miller and many others, have dipped into it for samples or remixes. As La Planète Sauvage celebrates its half-century, Cam Sugar presents a new deluxe edition of the soundtrack, mixed from the recently discovered multi-track tapes, including 7 previously unreleased tracks and 3 alternate mixes. Produced under the expert supervision of Patrick Goraguer, Alain's son, this is released as Deluxe gatefold 2LP (including a special illustrated zine) and CD digipack. Listening to this complete album will confirm the spellbinding power of La Planète Sauvage is intact.

Seit den 1990ern ununterbrochen erfolgreich, ein Superstar in Frankreich, asl Solo-Künstler und auch Songschreiber. Dies ist Pascal Obispo's 14. Album mit bislang nicht veröffentlichten Songs. Aufgenommen in seinen Studios in Paris, Frankreich. Produziert von den beiden New-Wave-Jazzern Fred Nardin und Max Pinto. 17 Titel auf Doppel-Vinyl und 14 auf CD. Auf dem Album sind als Gäste Giordana Angi, ein französisch-italienischer Star, und Alexia Gredy, eine junge französische Liedermacherin, mit dabei. Das Album zum ersten Mal gemeinsam mit Pierre-Dominique Burgaud geschrieben, der jetzt mit Alain Chamfort zusammenarbeitet, aber auch für seine Arbeit an Le Soldat rose und Gaëtan Roussel bekannt ist. Begleitet wird er von berühmten Musikern wie Manu Katché und Laurent Vernerey und einem Gastauftritt von Gautier Capuçon. Es ist ein Album mit Liedern, die sich um das Thema der sublimierten oder demontierten Schönheit drehen. Aufgenommen und gemischt von seinem Partner Youri Benaïs und gemastert von Miles Showell in Abbey Road, ist "Le beau qui pleut" eines der poetischsten Alben von Pascal Obispo.

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

In a realm where the threads of fate intertwined with the tapestry of existence, there existed a timeless construct we call “MENG”. This transcendental domain pushed a sanctuary where an unholy wisdom was safeguarded. Within its twenty-two walls, the experiences of countless sages and seekers resided, forming a reservoir of enlightenment, of vision and of identity.

Among the enigmatic texts that adorned the shelves of The Memory Palace, one stood out—the "Tubular Heaven," a chapter that held the essence of the universe's patterns and transformations. The book we speak of is the Book of Change - I Ching. Legend has it that the Memory Palace embodied the vibrations of those who sought its wisdom, guiding them to the Slow-Chain’s pages where hexagrams unveiled the secrets of existence.

Amidst this cosmic dance of knowledge, there lived a young wanderer whose name we do not say out loud. Driven by a deep yearning for understanding, this Warrior ventured into the city of Tanoy. With every step, he felt the resonance of centuries long gone, as if the walls whispered to him the essence of reality itself - “you may fall as long as you stand up again. Repeat this 1000 times and you will understand me. Only then can we control the sound.” As he reached for the illuminated Book of Change, a light was cast onto a newly fabricated realm of questions.

One hexagram, in particular, was essential. The cryptic symbolism was perplexing. Upon meditation, we slowly begin to realize that life is indeed a tapestry of imperfections, yet from these glitches we arise with profound growth and transformation.

As our curiosity spikes, we delve into the pages that follow, discovering an unexpected connection between I Ching and the world of Jeans, no denim. In ancient times, the craft of weaving denim mirrored the wisdom of these hexagrams. Just as threads interwove to create a durable fabric, I Ching reveals how life's experiences intertwine to form a meaningful existence. Denim, like life, is sturdy yet adaptable - a true testament to the harmonious balance between falling and standing.

As this journey comes to a gentle end, we must stress that hexagrams prove that other divination systems exist. It has become clear that the patterns hitherto observed are not confined to one culture, tradition, mind or body. Instead, they echo throughout history, manifesting in various divination systems across our globe. Hexagrams are a universal language, transcending boundaries and demonstrating the interconnectedness of humanity's pursuit of higher understanding.

We can now truly emerge from the Memory Palace, carrying the wisdom of everything above us. It’s time to Drag A Friend into this Made Up Reality. Or is it? We now understand that life's glitches are the catalysts for growth and that just as threads wove together to create denim, experiences wove together to create a meaningful existence.
As we walk beneath the open sky, we whisper into the wind, "Hexagrams are the echoes of universal truths, proving that the search for wisdom knows no bounds."

The chimes tingle in the deep subset of your imagination. As the pages of the Book of Change unfurl one last time, the shimmering tapestry of our shallow minds unravels.

We have revealed the kaleidoscopic corridors where perceptions dance in hallucinogenic symphony to the hymns of our rich minds.

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

Félicia Atkinson: »Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe)« (2021)

Félicia Atkinson’s Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one’s creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O’ Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson’s music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it’s a singular way of approaching the world and, in so doing, densifying it.

Richard Chartier: »Recurrence.Expansion« (2020)

Richard Chartier’s music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier’s music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier’s music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

REMIXED & REMASTERED REISSUE OF THE PINEAPPLE THIEF'S 2003
STUDIO ALBUM
Kscope present 'Variations On A Dream', the third album from The Pineapple Thief
newly remixed by Bruce Soord & remastered by fellow bandmate Steve Kitch.
The Pineapple Thief are one of the leading lights of Europe's experimental rock
domain, led by post-progressive mastermind Bruce Soord, the band have built an
incredibly loyal fanbase over the past 23 years through extensive touring &
consistently lauded recordings. Founder Bruce Soord started The Pineapple Thief
as an outlet for his music back in 1999 & has since released over 15 studio
albums.
Albums like 'Someone Here Is Missing' (2010) & 'All The Wars' (2012) paved the
way to their recent releases. Multiple headline tours followed, including their
biggest headline performance in the UK at O2 Shepherds Bush Empire & their first
ever tour of North America.
'Variations On A Dream' opens with the timid beginnings of 'We Subside' as they
slowly move into the more progressive leaning 'Vapour Trails' before the delicate
strings of 'Resident Alien' position us toward the grand finale of the 16- minute
epic 'Remember Us'.
While earlier Kscope releases were many people's introduction to the band, The
Pineapple Thief spent the previous ten years building up a dedicated fan base
across the globe, selling over 25,000 records & nurturing their 'bittersweet'
progressive sound. A sound that has recently been revisited in a beautifully
packaged 'How Did We Find Our Way - 1999 - 2005' deluxe book set.
Kscope will be presenting 'Variations On A Dream' as a single black LP.

Neon violet vinyl.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle Records. Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumens powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it. "Like various underground religious groups throughout history, Blood Command's ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

Milky clear vinyl w/ black / neon green splatter.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle Records. Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumens powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it. "Like various underground religious groups throughout history, Blood Command's ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

auchen Sie ein in die aufregende Welt des Rock‘n‘Roll . Unsere neue Vinyl-Serie “Rock’n’Roll Hits“ enthält eine sorgfältig ausgewählte Sammlung von 20 originalen Rock‘n‘Roll-Hits aus den 1950er Jahren, die die Ära des Rock‘n‘Rolls in seiner Blütezeit einfangen.

Mit legendären Künstlern und unvergesslichen Songs bietet diese Schallplatte ein Stück Musikgeschichte zum genießen. Mit dabei sind: Guy Mitchell, Frankie Avalon, Buddy Holly, Little Richard, Elvis Presley, Fats Domino uvm. Erleben Sie die Energie und den Spaß der 1950er Jahre Rock‘n‘Roll-Szene auf dieser hochwertigen Vinyl-Schallplatte. Perfekt für Liebhaber der Musikgeschichte und Fans zeitloser Hits.

Impii Hora ist das Debütalbum des dänischen Musikers Michael Schøn Poulsen (geboren am 1. April 1975). Er ist der Leadsänger, Rhythmusgitarrist und Hauptsongschreiber der Rockband Volbeat. Asinhell ist eine Band, kein Nebenprojekt. Vor Volbeat hieß Michaels Metalband Dominus, mit Morten Toft Hansen, ebenfalls aus Ringsted, am Schlagzeug. Michael war Dominus' Leadsänger, Booker, Manager und Buchhalter. Als Poulsen Songs für das Volbeat-Album 2021, Servant of the Mind, zusammenstellte, schrieb er eine Reihe von Death-Metal-Riffs. Als er mit dem Volbeat-Album fertig war, begann er, Songs für seine neue Death-Metal-Band Asinhell zu schreiben, deren Debütalbum Impii Hora (lateinisch für Ungodly Hour) eine Hommage an Poulsens Lieblingsgruppen der alten Schule ist. Die Songs basieren auf krachenden Riffs, sind jedoch mit starken Gitarrenhooks und Shout-Along-Refrains versehen. "Bands wie Death, Entombed, Bolt Thrower, Autopsy, Dismember, Grave, Mercyful Fate, Possessed und andere Bands der alten Schule sind der Grund, warum wir das überhaupt machen können", sagt Poulsen. Obwohl er stolz darauf ist, seine Einflüsse auf seinen Ärmeln zu tragen, hat Asinhell seine eigene Identität entwickelt. "Bei Asinhell habe ich versucht, Songs ohne Regeln zu schreiben, aber weil ich so sehr daran gewöhnt war, mit Volbeat zu schreiben, konnte ich nicht wirklich verhindern, dass ich Bridges, Hooks oder eine bestimmte Art von Refrains schrieb", sagt er. "Ich denke, die Kombination aus Old-School-Death-Metal-Riffs mit ein wenig Struktur macht die Songs wirklich stark."

Impii Hora ist das Debütalbum des dänischen Musikers Michael Schøn Poulsen (geboren am 1. April 1975). Er ist der Leadsänger, Rhythmusgitarrist und Hauptsongschreiber der Rockband Volbeat. Asinhell ist eine Band, kein Nebenprojekt. Vor Volbeat hieß Michaels Metalband Dominus, mit Morten Toft Hansen, ebenfalls aus Ringsted, am Schlagzeug. Michael war Dominus' Leadsänger, Booker, Manager und Buchhalter. Als Poulsen Songs für das Volbeat-Album 2021, Servant of the Mind, zusammenstellte, schrieb er eine Reihe von Death-Metal-Riffs. Als er mit dem Volbeat-Album fertig war, begann er, Songs für seine neue Death-Metal-Band Asinhell zu schreiben, deren Debütalbum Impii Hora (lateinisch für Ungodly Hour) eine Hommage an Poulsens Lieblingsgruppen der alten Schule ist. Die Songs basieren auf krachenden Riffs, sind jedoch mit starken Gitarrenhooks und Shout-Along-Refrains versehen. "Bands wie Death, Entombed, Bolt Thrower, Autopsy, Dismember, Grave, Mercyful Fate, Possessed und andere Bands der alten Schule sind der Grund, warum wir das überhaupt machen können", sagt Poulsen. Obwohl er stolz darauf ist, seine Einflüsse auf seinen Ärmeln zu tragen, hat Asinhell seine eigene Identität entwickelt. "Bei Asinhell habe ich versucht, Songs ohne Regeln zu schreiben, aber weil ich so sehr daran gewöhnt war, mit Volbeat zu schreiben, konnte ich nicht wirklich verhindern, dass ich Bridges, Hooks oder eine bestimmte Art von Refrains schrieb", sagt er. "Ich denke, die Kombination aus Old-School-Death-Metal-Riffs mit ein wenig Struktur macht die Songs wirklich stark."

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.

Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.

Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.

Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.

Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.

Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.

Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.

Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.

Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.

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

Animal Collective veröffentlichen ihr neues Studioalbum "Isn't It Now?". Das Quartett, bestehend aus Avey Tare, Panda Bear, Deakin und Geologist, nahm das Album mit dem Grammy-Preisträger und Produzenten Russell Elevado (D'Angelo, The Roots, Kamasi Washington) auf, der es auch mitproduzierte und abmischte.

Die Struktur von Animal Collective ist seit langem eine Spielwiese, ein offener Raum, um neue Ideen und Einflüsse auszuprobieren und auszuleben. Und warum auch nicht? Es kann bedeuten, dass man Panda Bear erlaubt, sich mehr auf sein Schlagzeugspiel zu konzentrieren, oder dass man Deakin ermutigt, tiefer in sein Klavierspiel einzutauchen. Oder man lässt dem aufkeimenden Interesse von Avey Tare und Geologist an der Musik der Renaissance - dem Flötenspiel, der Drehleier, der vergoldeten Polyphonie - Raum zur Entfaltung. Diese Impulse sind der Kern von "Isn't It Now?", dem zweiten Animal Collective-Album in ebenso vielen Jahren und ein markanter Meilenstein auf ihrer fröhlichen Rundreise. Mit 64 Minuten ist Isn't It Now? das längste Animal-Collective-Album aller Zeiten, wobei fast ein Drittel der Laufzeit auf die hinreißende und eruptive 22-minütige Ode an die hoffnungsvolle Beharrlichkeit, "Defeat", entfällt. Sie haben es in nur 12 Tagen fertiggestellt und dabei höchstens 24 Kanäle verwendet, was nicht nur davon zeugt, dass sie diese Songs auf der Time Skiffs-Tour aufgenommen haben, sondern auch davon motiviert, dass sie wieder in einem Raum zusammen waren.

Animal Collective veröffentlichen ihr neues Studioalbum "Isn't It Now?". Das Quartett, bestehend aus Avey Tare, Panda Bear, Deakin und Geologist, nahm das Album mit dem Grammy-Preisträger und Produzenten Russell Elevado (D'Angelo, The Roots, Kamasi Washington) auf, der es auch mitproduzierte und abmischte.

Die Struktur von Animal Collective ist seit langem eine Spielwiese, ein offener Raum, um neue Ideen und Einflüsse auszuprobieren und auszuleben. Und warum auch nicht? Es kann bedeuten, dass man Panda Bear erlaubt, sich mehr auf sein Schlagzeugspiel zu konzentrieren, oder dass man Deakin ermutigt, tiefer in sein Klavierspiel einzutauchen. Oder man lässt dem aufkeimenden Interesse von Avey Tare und Geologist an der Musik der Renaissance - dem Flötenspiel, der Drehleier, der vergoldeten Polyphonie - Raum zur Entfaltung. Diese Impulse sind der Kern von "Isn't It Now?", dem zweiten Animal Collective-Album in ebenso vielen Jahren und ein markanter Meilenstein auf ihrer fröhlichen Rundreise. Mit 64 Minuten ist Isn't It Now? das längste Animal-Collective-Album aller Zeiten, wobei fast ein Drittel der Laufzeit auf die hinreißende und eruptive 22-minütige Ode an die hoffnungsvolle Beharrlichkeit, "Defeat", entfällt. Sie haben es in nur 12 Tagen fertiggestellt und dabei höchstens 24 Kanäle verwendet, was nicht nur davon zeugt, dass sie diese Songs auf der Time Skiffs-Tour aufgenommen haben, sondern auch davon motiviert, dass sie wieder in einem Raum zusammen waren.

Jazz, funk, and bossa vibes kiss each other, all wrapped up in JLR's trademark cinematic feel. In his colourful Un Hombre de Buenos Aires, recorded in 1978, JLR puts the political outcry of his early 70s works aside and focuses on his love for the city of Buenos Aires.

Jorge López Ruiz gets far less credit than he deserves. His crucial role in shaping Argentina's jazz history should place him right next to Gato Barbieri and Lalo Schifrin, who found success abroad. It's an honour do dig deeper into his vast discography after having already reissued his masterpiece Viejas Raíces and his historical milestone album Bronca Buenos Aires.

As always, Jorge López Ruiz enroled for the recording of Un Hombre de Buenos Aires some of the best musicians in the country. The line-up includes Dino Saluzzi on bandoneon, Domingo Cura on percussion and his lifelong friend Pocho Lapouble on drums.

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

Kindred Spirits is a covers album by American Roots Rock Band Larkin Poe. Featuring covers of songs by Lenny Kravitz, Neil Young, Phil Collins and Elvis Prestley to name a few. Originally released in 2020.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside.

‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature.

While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language.

Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics.

The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

Vinyl mit Downloadcode. Die LP und CD Versionen dieses Albums unterscheiden sich in einigen Details: Nicht mit an Bord bei der LP-Version sind die Songs "Intro" und "Ends", die sich auf der CD finden lassen. Dafür gibt es auf der LP den Track ,Body And Blood" in einer längeren Version. Außerdem tummeln sich auf der D-Seite 100 Locked Groove Audio Loops, die exklusiv nur auf dem Vinyl auftauchen. ,CLIPPING. machen Partymusik für den Club, bei dem man sich wünscht, nie in ihm gelandet zu sein; das Auto, bei dem du dich nicht erinnerst, wie du eingestiegen bist und die Straßen, auf denen man sich nicht sicher fühlt." (Aus der Pressemitteilung für das CLIPPING. Debüt ,Midcity", das im September 2012 veröffentlicht wurde). Seit das verfasst wurde, hat sich einiges geändert für CLIPPING. Die Band fand heraus, dass die potentiellen Hörer bereiter für sie waren, als sie es erwartet hatten. Vor ,Midcity" erwartete keins der Mitglieder (Rapper Daveed Diggs und die Produzenten Jonathan Snipes und William Hutson), dass ihr kantiger Rap ein Publikum finden würde. Die Band war ursprünglich als Remixprojekt und Fußnote im wahren Leben der Mitglieder gedacht: Diggs ist ein Bühnenschauspieler; Snipes komponiert Filmmusik und Hutson ist ein etabliert Noise Musiker (Snipe und Hutson kollaborierten beim Soundtrack zur IFC Dokumentaion ,Room 237"). Doch seit der Gründung von CLIPPING. weitete sich das Feld der kommerziellen Musik leicht aus, so dass plötzlich Platz für mehr Noise und mehr Abenteuer in der elektronischen Produktion war (obwohl CLIPPING. selbst natürlich darauf bestehen, dass sie Rap Musik machen). ,Clppng" ist ambitionierter als ,Midcity". Das Album wartet mit Gästen wie Gangsta Boo (Ex-THREE 6 MAFIA und momentan bei DA MAFIA 6IX), Guce (Veteran der Bay Area; Mitglied von BULLYS WIT FULLYS), King T (Gangster Rap Legende der Westküste; Gründer der Likwit Crew; Mentor von XZIBIT und THA ALKAHOLIKS) und COCC PISTOL CREE (Newcomerin aus Compton, bekannt vom DJ MUSTARD Mixtape ,Ketchup"). ,Clppng" weitet die experimentellen Sounds der Band aus, um eine größere emotionale Palette zu bedienen. Doch die Band ist nicht zum Softie geworden; das Intro des Albums ist eins der brutalsten Stücke, das die Band je aufgenommen hat und ,Or Die" (feat. Guce) ist so bitterböse wie alles auf ,Midcity". ,CLPPNG" ist ein Album, das unter Beweis stellt, wie vielschichtig Sound sein kann, wenn die Regeln eines Genres mutwillig in Frage gestellt werden.

Hard-hitting latin-tinged super-group Grupo Magnético formed from backgrounds in funk, hip-hop & soul, united by a love of Eddie Palmieri, Tito Puente, Ray Barretto, Fania and classic New York salsa. They have worked with legendary musicians from Cuba, Venezuela and America & over time the group, led by Toby "El León" Shippey, developed their own set and sound.

These two tracks have been lifted from the Athens Of The North album Positivo from 2018 and feature 'Vulcano V El Gato' (Medley) with 'Somos Latinos' on flipside. Already supported by DJ Koco, Patrick Forge, Colin Curtis Gilles Peterson, Kevin Beadle ,DJ Amir, Mr Thing, Dom Servini, Coco Maria, Cosmo Sofi, Rainer Truby, Miche, Skeme Richards, Elsewhere Sonido, DJ Gilla and more ! Limited to 300 hand numbered copies ! No repress.

"Wow. Sounds like '74 downtown NY Fania Records... Absolutely brilliant. " - Gilles Peterson

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo- psychedelic resonance of a uniquely bowl - shaped 12 -string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untet hered, silhouetted against an open horizon. "Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic fingerpicking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect baggy, soaring, grey skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure - esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place." "Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15 minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

Nur 1 Jahr nach ihrem erfolgreichen Album „Kreatura“ und einer ausverkauften ersten Headliner-Tour durch ganz Deutschland, sind MANNTRA mit ihrem neuen Album„War of the Heathens“ zurück!

Das epische neue Meisterwerk erscheint am 22.09.2023. Voller Energie, mit niederschmetternden Riffs und gewaltigen Melodien, die nicht aus dem Kopf gehen, sind MANNTRA zurück mit dem, was sie am besten können: einer einzigartigen Mischung aus Metal, Industrial und Folk.

Die vier kroatischen Musiker, die vom dämonischen Barren King unterstützt werden, vereinen die Energie und die Atmosphäre des Meeres der Adria und der Berge ihrer Heimat auf ihrem neuen Album. Lasst Euch entführen in die Welt der alten Legenden und Schlachten, die ganz Europa geprägt haben.

Das norwegische Jazz-Trio Bushman's Revenge verbindet auf spannende und mitreißende Weise die Energie des Rock mit der Freiheit des Jazz. Das 2003 gegründete Trio hatte zwei Jahrzehnte Zeit, um verschiedene Wege und Klänge zu erkunden und dabei erfolgreich ein fast schon eigenes Genre zu schaffen, das zwischen Jazz und Rock pendelt und von dem prägnanten Gitarrenspiel von Helte Hermansen dominiert wird. Mit in den Feuilletons gefeierten Alben und über 300 Live-Auftritten auf der ganzen Welt haben sich Bushman's Revenge mittlerweile einen Ruf erworben. Jazzwise kommentierte, dass sie "wahnsinnig gut! David Fricke vom Rolling Stone bezeichnete sie z.B. als ‚eine Marshall-Amp-Version von John Coltranes 'Interstellar Space'". 'All the Better for Seeing You' ist ihr mittlerweile 11. Album, und 2023 markiert das 20-jähriges Bandjubiläum. Geheimtipp inkl. gestalterisch ansprechendem Artwork, das vor allem auf der LP-Version seine Wirkung hinterlässt.

Some Kind Of Forever is Euglossine's brand new full-length, out March 2022 on sound as language. Where previous Euglossine releases were a complex balance of jazz fusion, sound design, and computer music, Some Kind Of Forever sees the artist pulling back and searching for simplicity. On this album, Whitehill immerses himself in the light and delicate. Some Kind Of Forever is Whitehill's most refined and restrained work to date. Influenced by the early ECM catalog, decades of groovy/weird library music, and domestic golden-hued psychedelia, Some Kind Of Forever's subtle, meditative jazz floats by ever so softly. The album's rich and open instrumentals are pristinely constructed yet always playful. Whitehill moves deliberately as he carefully peels back the layers to create something magical and tender. Some Kind Of Forever is an instant timeless classic and the warm, gentle breeze we all need right now.

The last decade has seen a seismic shift in how people buy and play music, vinyl has returned to being the dominant physical format with CDs consigned to second fiddle. Things were very different back in 2012 when we compiled and released the eponymous "Cool Runnings" on CD only. The vinyl revival is a belated opportunity to give the band their first long playing record to complement that earlier CD release. Together for a dozen years, Cool Runnings were one of Bristol's longest lasting bands gigging throughout the 1980s, though their failure to gig beyond the West Country meant they were also one of the City's best kept musical secrets. Originally formed in Weston-Super-Mare by Keyboardist Mark Tuck and Guitarist George Condover, they immediately relocated to Bristol and recruited various local musicians including an experienced and talented singer, Winston Minott. Although "Robin Hoods of The Ghetto" was their solitary release, the band regularly recorded material throughout their career and fortunately thanks to the foresight of George and Mark in holding onto various master tapes, Bristol Archive Records were able to release the band's self-titled debut album "Cool Runnings" in 2012. For this vinyl release we've selected eight tracks recorded between 1983 and 1985 at various local studios, and a solitary live track to give an idea of why the band were so popular in person. Although their music leans towards the more mellow end of the market, Lovers Rock, music ideally suited to Winston's soulful voice, the band were more than capable of writing good roots tunes including the excellent "We Must Go Home", "Children of Zion" and "Robin Hoods of The Ghetto". Winston Minott had spent many years touring all over Europe with soul band The Invaders and many songs showcase his vocal talent, but a particular highlight has to be "Playhouse" an alternative recording of which can be found on "The Bristol Reggae Explosion Volume 3". Perhaps proper management would have seen Cool Runnings achieve the success and wider exposure that their combined talents and unique take on reggae undoubtedly deserved. Now thirty years after the members went their separate ways, Bristol Archive Records are pleased to finally release the vinyl album that if things had worked out differently should have appeared in the 1980s

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

hilly Gonzales veröffentlicht am 15. September sein neues Album 'French Kiss' über sein eigenes Label Gentle Threat - das erste Album von Chilly Gonzales, das in der Sprache von Molière und Bangalter geschrieben und aufgeführt wird.

Chilly Gonzales ist für seine intime Annäherung an das Klavier durch seine Solo Piano Album-Trilogie ebenso bekannt wie für seine unbestreitbaren Talente als Performer, der seine Showman-Energie in den Philharmonien Europas versprüht. Er hat mit international bekannten Künstlern wie Feist, Drake, Jarvis Cocker und Daft Punk zusammengearbeitet, und die hymnische Kraft seines Tracks Smothered Mate (aus IVORY TOWER) wurde zum Soundtrack des WM Sieges der französischen Fußballnationalmannschaft 2018.

Seitdem ist der unberechenbare Pianist Frankreich immer näher gekommen, bis er schließlich nach Paris zurückkehrte, um im Herzen der Ile Saint-Louis zu leben, von wo aus er die Einweihung von Notre-Dame mit einer Träne im Auge und einem Joint auf den Lippen beobachtete. Nach mehreren Jahren intensiver Vorbereitung, die darin bestand, sich ausschließlich von Camembert und französischer Literatur zu ernähren, und während er darauf wartete, in die berühmte Académie Française gewählt zu werden, veröffentlicht er nun am 15. September das Album 'French Kiss'.

R&B, funk and soul icons Kool & The Gang are returning with a new album release – People Just Wanna Have Fun is out July 14, 2023 on Astana Music Inc. With six decades of hits, the internationally celebrated group continues to tour the world and recently performed on Good Morning America. The band is led by founding members Robert “Kool” Bell (bassist) and George “Funky” Brown (keyboardist, drummer & producer of this album), whose book Too Hot: Kool & the Gang & Me will be released on July 11, 2023. Continuing to release music that makes the good times better and the bad times more bearable, this collection will be the band’s 34th studio album, featuring some of the last studio work by founding horn players, Kool’s brother Ronald “Khalis” Bell and Dennis “D.T.” Thomas, who passed in 2020 and 2021. Lead vocals on the album also include Sha Sha Jones, Shawn McQuiller, Lavell Evans, Dominique Karan, Rick Marcel and Walt Anderson, plus rappers Ami Miller & Ole’. Both Bell and Brown view People Just Wanna Have Fun as a summation of their long career, during which they sold 70 million albums worldwide with hit singles like “Celebration,” “Ladies Night,” “Get Down on It,” “Hollywood Swinging” & beyond. Since their start in 1964, the group has amassed two Grammy Awards, seven American Music Awards, a BET Soul Train Lifetime Achievement Award and star on the Hollywood Walk of Fame. Kool’s bass guitar is even featured in the Smithsonian Museum of African American History and Culture in Washington, DC. From Newark to Nairobi, Kool & the Gang have performed continuously longer than any R&B group in history and are the most sampled R&B band of all time, including by Madonna, Jay-Z, Beastie Boys, Janet Jackson, Cypress Hill and P. Diddy.

Black Truffle is pleased to announce its first release from celebrated London-based Canadian composer Cassandra Miller. Though her body of mature work stretches back almost twenty years, many listeners were introduced to Miller through the success of her astonishing 2015 Duet for Cello and Orchestra, which sets an imperturbable two-note cello part against a series of increasingly dense orchestrations of an Italian folk melody; in 2019, it was selected by The Guardian as one of the ‘best classical music works of the 21st century’. Traveller Song / Thanksong, the first release of her music on vinyl, presents a pair of compositions for voice and ensemble that exemplify Miller’s gently absurd, strikingly beautiful, and utterly unique work.

Like many of Miller’s compositions, these pieces originate in existing music. Traveller Song (2016/2018) begins from a 1950s song of an anonymous Sicilian cart driver recorded by Alan Lomax and Diego Carpitella, which Miller recorded herself singing along to, going on to then record herself singing to her own layered voices. Miller’s untutored voice is an unsteady, wavering wail that has, in her words, ‘more in common with a quasi-shamanistic keening than anything Sicilian’. Heard sometimes alone, sometimes layered, her pre-recorded voice is accompanied by a chamber sextet drawn from London’s Plus-Minus Ensemble. In the first section, Miller’s exposed warble is set to a spare piano accompaniment, somehow both faintly preposterous and magisterial. Following the voice note for note, the piano part often makes use of almost mechanical sequences of parallel chords, reminiscent both of Satie’s Rosicrucian period and the abrupt harmonic movements of a chord organ. The orchestration then opens up to guitar, clarinet, and sliding strings, a delicate environment for Miller’s voice, which, especially when it begins to be layered, generates a powerful sense of intimacy. In its concluding minutes, the folk roots of the original melody return in the form of a glorious full ensemble setting dominated by accordion, clarinet, and strummed guitar. Thanksong begins from recordings of Miller singing along to the third movement of Beethoven’s late quartet in A minor (Op. 132), the ‘holy song of thanks’ the composer wrote to express his gratitude for (temporarily) recovering from illness. Recording herself singing along repeatedly to each of the individual parts of the quartet, Miller created an aural score where each member of the string quartet listens to their own part on headphones, playing by ear. Performed on this recording by Montreal's Quatuor Bozzini, with whom Miller has a decades-long relationship, they are joined by the British soprano Juliet Fraser, who sings material from the Beethoven quartet ‘as slowly and quietly as possible’. The atmosphere of the opening of Beethoven’s Dankgesang, of hushed reawakening and thoughtful reflection, is sustained throughout the fourteen minutes of Miller’s piece, building at points almost to sentimentality before the five individual parts again fall back into a gentle burble of unsynchronised melodic gestures. Like Traveller Song, here the use of the voice is a long way from the mannered performance of much contemporary music, reaching for a human and bodily presence more connected to the reality of the everyday, albeit suffused with wonder. Presented in a stylish sleeve adorned with photography by Lasse Marhaug and liner notes by Cassandra Miller, this is a key release from a major contemporary composer whose work challenges and dazzles in equal measure. .

Das neue Live-Album mit dem Titel "Daemonic Rites" ist ein spannendes und intensives Hörerlebnis, das die MAYHEMs Energie und Kraft auf der Bühne einfängt. Das Album enthält Aufnahmen von einer Vielzahl von Städten und Veranstaltungsorten, jeder mit seiner eigenen einzigartigen Atmosphäre und seinem Publikum. MAYHEM haben in den letzten Jahren auf der ganzen Welt gespielt, und "Daemonic Rites" fängt die Essenz ihrer Live-Auftritte auf eine Weise ein, wie es nur wenige andere Alben können.Das Album enthält sowohl klassische MAYHEM -Tracks als auch neueres Material von ihrem 2019 erschienenen Album "Daemon". Fans können sich unter anderem auf mitreißende Interpretationen von Songs wie "Freezing Moon", "De Mysteriis Dom Sathanas" und "Pure Fucking Armageddon" freuen.Insgesamt ist "Daemonic Rites" ein Muss für jeden MAYHEM -Fan und jeden, der intensive, rohe und authentische Live-Musik liebt. Mit seiner globalen Reichweite und seinen kraftvollen Performances ist dieses Album ein Beweis für MAYHEMs bleibendes Vermächtnis als eine der einflussreichsten Bands im extremen Metal.

Glacial Domination, das zweite Album von FROZEN SOUL, lässt das Death-Metal-Quintett aus Dallas in noch tiefere Abgründe eintauchen als es ihr Century Media-Debüt Crypt of Ice aus dem Jahr 2021 andeutete. Tracks wie 'Invisible Enemy' (unter Mitwirkung von Mitgliedern von Power Trip und Creeping Death), 'Abominable' oder der Titeltrack des Albums sind eine Lawine von Riffs und unvergesslichen Hooks, die an eiskalte Klassiker des Death Metal erinnern und FROZEN SOUL zu einem Spitzenprädatoren des modernen Extrem-Metal machen. Glacial Domination, das von Matthew K. Heafy (Trivium) mitproduziert wurde, markiert eine Verschiebung hin zu brutaler Zugänglichkeit, ohne FROZEN SOULs Markenzeichen - die Düsternis und Grausamkeit - aufzutauen. Mit dem 2-Song-Zyklus des Albums, 'Frozen Soul' / 'Assimilator', inspiriert von John Carpenters antarktischem Sci-Fi/Horror-Klassiker 'Das Ding aus einer anderen Welt', verfeinern Frontmann Chad Green und seine kalte Crew den unverwechselbaren Sound und die Vision der Band weiter. Der ewige Winter ist da. Die Eiszeit von FROZEN SOUL ist angebrochen. Glacial Domination ist als Standard CD Jewelcase, Ltd. black LP (in schwerem 180g-Vinyl und mit einer speziellen Matt/Glanz-Beschichtung der Cover-Hülle)

Rediscover all the pearls of electronic music selected by Radio FG with our emblematic double vinyl collection : Electronic Music Collection !

FOR THIS SUMMER, THE LAST VOLUMES ARE
REISSUED ACCOMPANIED BY A NEW FRENCH TOUCH SPECIAL OPUS! The new volume dedicated to French Touch

features :
JUSTICE - WORAKLS - FAKEAR - GUTS Feat. LERON THOMAS - MYD - MOME - OXIA - DEMON & ALEX GOPHER - KID LOCO - BOB SINCLAR - SUPERFUNK - DJ MEHDI - LAURENT GARNIER

Nach der Veröffentlichung ihres Century Media Records Debüts 'Menace' inmitten der Pandemie, die es den engagierten Straßenkötern unmöglich machte, eine Release-Tour zu spielen, beschloss die Band, sofort mit der Arbeit an neuem Material zu beginnen, was es ihnen ermöglichte, 'Heartbreak Criminals' zusammen mit ihrem Freund Andy Posdziech (Any Given Day) zu entwickeln. 'Wir wollten einfach ein gutes und schweres Hardcore-Album aufnehmen', sagt die Band über 'Heartbreak Criminals'. Aber täuscht Euch nicht - NASTY ist 2023 nicht nur das, was man von den europäischen Schwergewichten erwarten würde. Während 'Resurrection' und 'Don't Play With Fire' (die beiden Songs, die bereits 2022 digital veröffentlicht wurden) gute Indikatoren für die Dinge sind, die da kommen werden, findet man auf 'Heartbreak Criminals' auch einige überraschende Stücke.'Heartbreak Criminals' ist erhältlich als: Standard CD Jewelcase, schwarze 180g LP+CD und Digitales Album.

Auf ihrem vierten Album "Sonic Moons" begeben sich DOMKRAFT auf eine Reise in den inneren Kosmos. Die Schweden düsen mit ihrem Fuzz-Antrieb und einem Treibstoff aus psychedelischen Riffs und Doom Metal durch die Untiefen der galaktischen Psyche in alternative metaphysische Realitäten; auf der Suche nach Flucht, Erholung und Erlösung. DOMKRAFT bleiben ihrem bisherigen musikalischen Kurs treu, wobei das nordische Trio jedoch hörbar gereift und das Songwriting deutlich präziser wirkt. Die markanten Doom-Hymnen sind geblieben, allerdings durch kleine Details und Nuancen leicht in Richtung Heavy Rock verschoben. DOMKRAFT wurde von Sänger und Bassist Martin Wegeland, Gitarrist Martin Widholm und Schlagzeuger Anders Dahlgren gegründet, um ihrer gemeinsamen Liebe zu Bands wie SPACEMEN 3, MONSTER MAGNET, SLEEP und HAWKWIND aktiv Ausdruck zu verleihen. Das Trio entwickelte aus seinen Einflüssen einen Sound, der bewusstseinsverändernde Psychedelik, hypnotischen Minimalismus und emotionale Klagegesänge miteinander verbindet. Dies drückt sich auf DOMKRAFTs monolithischem Debütalbum "The End of Electricity" (2016) ebenso deutlich aus wie auf dem heftigen Nachfolger "Flood" (2018) und dem gefeierten dritten Album "Seeds" (2021). Mit "Sonic Moons" sprengen DOMKRAFT den Fluchttunnel zu den emotional geladenen inneren Räumen des Geistes auf und gleiten durch fantastische neue Sonnensysteme zu unerforschten musikalischen Planeten. Jetzt ist der perfekte Zeitpunkt, um sich mit den Schweden auf die intergalaktische Reise ins Innere zu begeben!

Tbilisi based label Domain Records launch new, only vinyl series! Cobert, label’s dear friend and one of the best in game returns on Domain Records with his solo EP. Finally, we are happy to share 5 tracks that are perfect definition of “Mind and dancefloor music”. Dedicated to the childhood idol...

White / Black Vinyl

Pure old school jungle/breakbeat bicolor weapon !
In the wein of Psycho Audible Warp Phaenomenon and old Amputate jungly tunes.

Masterpiece of an oldschool sound !

Das neue Album des Kevin Fingier Collective vereint Genre und schafft Neues!

'Not Strictly Soul' ist der Höhepunkt der dreijährigen Reise von Kevin Fingier als Produzent von Acid Jazz Records. Es erforscht Latin Soul, Northern Soul, R&B und Mod Jazz, die alle auf eine Art und Weise miteinander verschmolzen sind, wie es noch nie zuvor geschehen ist: ein völlig neues Konzeptalbum und ein einzigartiges Kunstwerk, das der argentinische Produzent in Lateinamerika geschaffen hat.

1995 steuerten The Folk Implosion, die Band um Lou Barlow (Sebadoh, Dinosaur Jr) und John Davis den Löwenteilanteil zum Soundtrack des Harmony Korine Kultfilms "Kids" bei. Die zusammen mit Engineer/Produzent Wally Gagel entstandenen Songs lieferten einen unschätzbaren klanglichen Kontrapunkt zu dem radikalen Film, den sie begleiteten. Fast 30 Jahre später erscheint nun "Music for KIDS", ein Kompendium, das die zahlreichen Aktivitäten der Band zusammenfasst. Im Mittelpunkt stehen die Originalsongs sowie B-Seiten, unveröffentlichte Stücke und Remixe aus dieser Zeit. Die Tracks wurden neu gemastert und einige, wie der erfolgreichste Song des Duos "Natural One", sind zum ersten Mal auf Streaming-Diensten verfügbar. Die Neuauflage enthält außerdem zwei Remixe von den Dust Brothers und UNKLE sowie eine Instrumentalversion von "Nothing Gonna Stop".

Moving to England for its second release, Rant & Rave Records presents a proper EP from South Wales-based producer JoeFarr, known for his dancefloor jams on labels such as: 'SLAM', 'Arts', and his most recent success with 2019's epic 12" 'Death Becomes Us'. On the a-side 'In This Anger', which JoeFarr has written with Louisahhh, an anxiously dark, slowly developing atmosphere menaces behind a slow rolling, broken beat for maximum effect. This is punctuated by dark, slightly distorted female vocals with sporadic lyrics subtly encouraging its dance floors to move.. and think. Signature hard and bouncy grooves with infectious in-yer-face techno riffs dominate the rest of the EP with tracks 'Laced Up', 'You Can See Me' and 'You will See Me (Hardcore)', effortlessly weaving in and out of the pulsating groove with an interesting palette of machine sounding synths and heavily processed vocals.

"Die Welt soll durch Zärtlichkeit gerettet werden" Fjodor Michailowitsch Dostojewski In von Krisen gebeutelten Zeiten bietet die Kunst allerhand Möglichkeiten, um dem entrückten Lauf der Welt die Stirn zu bieten. Eine davon liegt in der bewussten Umkehrung von Aggression und Rauheit. Für genau diesen Weg haben sich vier Musiker aus Köln entschieden - und folgerichtig ihre Band nach einer herzerfrischenden Tugend benannt: Die Zärtlichkeit lautet das Credo der Gegenwart. Gewissermaßen ist die Gruppe ein Produkt der Pandemie. Allwöchentlich trafen sich Sänger Andreas Fischer und Gitarrist Tobias Emmerich hinter domstädtischen Wänden, um ihren musikalischen Entwurf auszuarbeiten. Zum Vorbild nahmen sie sich den britischen Jangle-Pop der 80er-Jahre: The Smiths, Orange Juice, Felt. Samtweich klangen jene Formationen und wenngleich ihre Melodien durchaus beschwingt daherkamen, wurden sie doch immer aus Empfindsamkeit geboren. So verhält es sich auch bei Die Zärtlichkeit. Im März 2020 erschien ihre selbstbetitelte Debüt-EP, im November des selben Jahres veröffentlichten sie auf "Die Zärtlichkeit II" vier weitere Stücke. An dieser Stelle bleibe nicht unerwähnt, dass sich das Duo seit dem Beitritt von Bassist Merlin Engelien und Schlagzeuger David Dasenbrook zum Quartett erweitert hat. Mit "Heimweh Meisterwerke" ist nun der Moment für den ersten Langspieler gekommen. Ohne Zweifel steht jene Platte in den Zeichen von Anmut und Grazie. Doch Obacht sei geboten: Am Ende von "Reptil" etwa lauert in Gestalt von "Ulalala"-Chören ein gewiefter Spitzbubenstreich. Vorrangig tut es wohl, dass diese Band keine Bange hat vor Romantik. In Gärten tummeln sich von der Welt verlassene Tiere, der Mai lässt die Bäume hastig erblühen. So lieblich, so leichtfüßig die Lieder aber auch dahinziehen mögen - hinter so manch besungenem Himbeerstrauch hat sich der Pathos versteckt. Hört man etwa die folgenden Verse, möchte man vor Rührung vergehen: "Und ich darf mich nicht verraten, ich träume hier von dir. Und während ich hier träume, befreist du mich von mir" "Ein kurzer Weg" heißt das Lied, dem diese Zeilen entnommen sind. Es offenbart, wie schnell sich die Dinge - freilich durch die Liebe - zum Guten wenden können. Auch bei "Star" nimmt das Schicksal eine rasende Wendung, die hier jedoch schnurstracks in den Abgrund führt. Das Stück nimmt sich einen Menschen zum Protagonisten, der den Sternen näher scheint, als der Erde: "Trotz makelloser Hülle scheint dein Inneres verdorben". Gerade deshalb muss er verglühen - zumindest in dieser mit Scharfsinn vorgeführten Fallstudie. Von einem Besuch in den Gefilden der Kindheit erzählt der Titel "Geteilt". Das Licht am Morgen fällt noch immer wie damals vor dem Schulbeginn. Einige Klingelschilder tragen jetzt andere Namen, ein Baum ist verschwunden. Es ist die Geschichte eines Jemand, der sich aufgerieben fühlt zwischen der Vergangenheit und dem Jetzt. Zwischen Ankommen und Loslassen. Als bittersüße nostalgische Verklärung kommt das Schlusslied "In meinen Träumen" daher. Die letzten Zeilen liefern schließlich den Beweis: Am Ende gewinnt Die Zärtlichkeit. "In meinen Träumen bleiben die Menschen und Orte für immer"

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Returning once again via Geelong, Australia; Vintage Crop offer up their new single “Springtime”. With 2022’s “Kibitzer” album still looming large in the rear-view mirror, the band now speed ahead once more with this two-track seasonal treat. 

“Springtime” exhibits the band’s growing strength in harmonic arrangement, whilst staying true to their taut roots - allowing the lyrics to shimmer. Following the arc of a relationship on the rocks and both people coming to terms with their situation, the song is a rare moment of vulnerability for the band that demonstrates their range. The flip side of the EP sees “Mercenary” deliver the sort of post-punk punch that fans have come to expect from the band. Brutish, brash & refusing to sit still; all the makings of a classic Vintage Crop number. Paired with lyrics exploring the online music scene, the track pokes fun at the “Internet Sound” that now dominates the underground. 

Springtime is a firm foot forward for Vintage Crop.

Vinyl includes lyric booklet with hand-written lyrics and exclusive photos and download card. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris, the Brooklyn-based Artist is back with her fifth LP, entitled I Am What I’m Waiting For, on Colemine/Karma Chief Records. Co-Written and Produced by Torbitt Schwartz (Run The Jewels, Killer Mike, Rubble Kings, Chin Chin), this collection is Kendra’s most personal album to date. It was spring of 2022 and Kendra had just released Nine Lives, her first new album in almost a decade and her first release on Colemine Records. She felt an urgency to get back into the studio, but something felt different this time. Returning to her usual ways, places, and people that she had been creating with felt like dragging herself back to a familiar and comfortable place - but that wasn’t what she was looking for. “I had to step into a new, unknown process because I knew it was the only way that I’d continue to grow,” she explained. She took a small batch of songs to Torbitt’s studio and the two began to write. “He challenged me to find the best version of every lyric,” she shared. “When I listen back, I’m so proud of the time we spent, because every single line is deliberate. I challenged myself to write just to write. No love songs this time around. Torbitt and I wanted to create a record that felt like you cracked open the ooze in my head. There are a lot of layers to me but I only recently through age and experience have fully accepted the weird little nuances that I’m made of. I’m a messy introvert that pretends to be an extrovert so I can feel like I fit in.” From top to bottom, I Am What I’m Waiting For is sincere. It’s a fresh take on a timeless sound, and Kendra exudes power. “My heart has always been in soul music,” she shared. “On this record, you’ll hear my influences and then some. You’ll hear all the bits of me….the vulnerable bits, the silly bits, all of it.This record is my melting pot.” Whether you’re a longtime listener or just now beginning to explore the whimsical world of Kendra Morris, the relatable lyrics and modern soul sounds on I Am What I’m Waiting For are sure to turn you into a fan

‘VOLCANO’ follows Jungle’s previous album ‘Loving In Stereo’, which proved to be a landmark moment for the acclaimed UK duo. It achieved their highest domestic UK chart position to date debuting at #3, while also achieving their best ever album chart positions in key international territories such as Australia, Germany, Switzerland, Belgium, Netherlands; and in the US it catapulted to #1 on the Billboard Dance Albums chart which led to major Arena shows as guests to Billie Eilish.

The free-spirited energy that runs right through ‘VOLCANO’ reflects how organically it came together. J and T had written most of the record on tour before starting the recording process while staying in an Airbnb in Los Angeles. It was later completed back home in London at their favourite location, Studio B at Metropolis Studios. This time around, the duo wanted to include a wider variety of voices within the album. In addition to Erick The Architect, they reunited with Bas (who previously featured on the ‘Loving In Stereo’ single ‘Romeo’) for ‘Pretty Little Thing’, as well as calling on talents in the shape of Roots Manuva, Channel Tres and JNR Williams.

Scannoir & Sneaker, aka “GOTT”, explore, transform and mutate. This unique collaboration embodies the perfect symbiosis of passion. “Die Deutsch-Schweizerische Freundschaft” is still profound and continues to have an effect. Now the two exceptional artists present their latest work: GOTT – MUTATIO on the Zurich based label Mattoni Pazzi.

“Alles wird gut” was the motto of the occupied Wohlgroth-Areal in Zurich in 1993, where Sonic Violence was invited to the concert of their “Transfixion” album tour. Industrial beats, dark samples, guitar riffs and moshing punks dominated the scene. At the ticket booth there were CDs to take away: “Sonic Violence – Transfixion”!

A template that now, 30 years later, adorns this memory with the selected track “Malice” in a new guise. GOTT mutates the original into a dark hell ride.

Enter the realm of the Fields of the Nephilim! The guardian waits, a lifetime. Profound and melancholic, he is transformed by GOTT. Dark souls remain dark souls. Daringly and nevertheless tradition-consciously they march through the black terrain. Interwoven by GOTT, guarded by GOTT. Well – GOTT is the guard! Experience this unique metamorphosis with GOTT – MUTATIO.

In Rumi's poem A Great Wagon he writes of a place of total acceptance. "Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there," It is a boundless, liminal space where we can release the judgments we make and carry of ourselves, and the comparisons to others. When we think of this field, there is a sense of tranquility that only comes when we are undisturbed by the shadow self and see existence as neither bright nor dim, white nor black. But as lead singer Greg Bertens explains, arriving there is a whole different story. "This is a poem I've returned to over the years, and I love the idea of this place, but getting there is life's journey." Bertens adds "I think the longing for and elusiveness of this field is a recurring theme in our music." Field is enveloped by themes of regret, disconnection and frustration but with the space to understand that these feelings are a natural part of the struggle between reconciling the inner and outer self. The Los Angeles/San Francisco-based group have been indie shoegaze stalwarts since their formation in 2001. After two decades and a handful of line-up changes, their extensive discography presents a dynamically textural, lush psychedelic rock that has featured guest appearances by members of Pavement, My Bloody Valentine, and Snow Patrol, among others. 2021's LP We Weren't Here was hailed for its dense instrumental blanket, where unrelenting hi-hats and heavy kicks exist alongside dreamy drone guitar. This propulsive nature permeates Field, as members Bertens, Noël Brydebell (vocals), Nyles Lannon (guitar), Jason Ruck (synths), Justin LaBo (bass), and Adam Wade (drums) produce a kaleidoscopic sonic landscape. Patient, sprawling instrumentation builds a foundation in which Bertens' themes of endurance, perseverance and clarity can bloom with a considered poise. As a lyricist who writes in response to the instrumental arrangements, rather than a focus on a specific theme or person, Field is a testament to Film School's ability to create in the moment, and to showcase the magic that stems from when we are truly present. Album opener "Tape Rewind" is a swirling rush of color, as sustained guitars, darkened bass lines and urgent, percussive swells dance alongside each other. "This is the newest of all the songs on the record and feels like a new level of heaviness for the band," Bertens explains, noting that its lyrical context of struggling to move past trauma adds to its cathartic essence. Field is bookended by heavier themes, with closer "All I'll Ever Be" taking on the perspective of those we hurt when we embrace our own toxic behaviors. Originally written to be a simple acoustic guitar and vocals song soon turned into an ethereal, effects-laden composition, with Noël's hazy lead vocals ushering in a new-found acceptance. "It's all I want / To be released / And all I can be," she laments, cementing Field's message of accepting ourselves in whatever form we find ourselves in. "Defending Ruins" is a murky relentless underworld, inspired by the freewheeling tones of Texas-based band Holy Wave. "Defending the ruins, defending remains," Bertens spits, among a richly-layered outro. "Don't You Ever" confirms Film School's ability to merge both delicate and growling instrumentation throughout the album, with the song's softly spoken section hovering above sparkling guitar. "Is This A Hotel" bends towards the electronic aspects of the band, with wailing synths accompanying a story of bitter desire. With over two decades in the industry, Field cements Film School as a distinct, dominant force in the shoegaze scene. Soaked in an emotionally open, imaginative atmosphere, the album is both singular and expansive, and leaves the door open for a constantly evolving interpretation. Film School have never confined themselves to the rigidity of specifics, and it's on Field that they urge us to look beyond the binary of certainty, and to take a second look