Cerca:dr bass

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.

This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.

This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.

This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.

A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.

In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.

A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.

7FO: pronounced "nana f o" in English, "nana" being seven.Ryuno Nukegara: "dragon's husk". These are the only difficulties you'llencounter here. This is warm, friendly, very relaxed music, very"understandable" and yet intriguing, sure to appeal to fans ofelectronic ambient, dub and chill-out music, as well as artists likeHaruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx andTapes.The Osaka-based 7FO combines groovily sparseelectronic percussion with similarly sparse dub-feel synth bass, aswell as pentatonic synth and steel pan melodies, the latter with anintriguing Okinawa/Sunda/Malay feel. Sparkling dub-influencedprocessing and thoughtful mixing gives us a music which istrans-oceanic, warm, and enveloping. Following releases onRVNG, Bokeh Versions and Metron,Ryu no Nukegarais availableon digital, CD and 12" LP, featuring a suite of four tracks and the20-minute title track, whose titular dragon is Asian: a potentsymbol of water, strength and good luck.

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

The time has finally come to have Kwartz in this house again and we couldnt be more satisfied with the quality of the work he has delivered. It is clear that his new residency at the best techno club on the planet, Berghain, has helped his inspiration multiply exponentially and this is definitely reflecting in this brand new work that leaves us wanting more.

Four slices of techno with all the letters, which define exactly what the genre should be without seasonal additives, dynamic electronic dance music, without an expiration date, which could be signed thirty years ago or in the distant future.

Mario does not entertain himself with extreme speeds, nor with predictable developments, nor with pre-cooked sounds. His approach to musical creation is slow and artisenal, meditating and maturing each of the ingredients he uses without fear of being left out of the media radar.

This enitre procedure is reflected un the excellent result, The Golden Hour is a perfect example of everything said above. Strong and firm rhythms, constantly evolving arrangements, elaborate sound design and a firm dance attitude.

Enter The Zone turn rhythms towards broken bass drums, slightly presses the accelerator and introduces disturbing atmospheres combined with organic percussion details in a masterful way. A true catalyst for expert mixers.

On side B, Under Control once again breaks tradition with a broken, hypnotic and continuous rhythms, a first-rate brain driller for the clubs peak moments.

The EP ends with Animal Instinct, which does not lower the intensity one bit, adding an overwhelming rhythm with dynamic percussive details, with no room for rest, perfect for the dancers to travel to unknown dimensions.

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present SR4HT02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell
Mastered by Mat Leffler-Schulman

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

Geniusz, Minor Talent, Generational Talent. Let the old folks fight it out. Sharp Pins are too busy staying up late watching vampire movies. Fathers and Children of the Revolution. Finally cartographed and designed by the actual Youth in Revolt "Nothing Stands in their way, they ARE the face of today". How can you tell you've been in the presence of the Sharp Pins? You see their sticker on yr phone, yr car, yr guitar, yr drums, yr bass, yr clarinet, yr flugelhorn, yr tuba, yr dog - its a MOD MOD WORLD, we're just living in it. 14 tracks 33RPM. Sharp Pins is the super solid lo-fi noise pop project of talented Chicago musician Kai Slater of Lifeguard and Dwaal Troupe."Radio DDR" originally released at home as a Hallogallo tape. "Youth Revolution Now".

Four years since her last dancefloor 12", upsammy returns with a four-track exploration of gleaming, sprightly drum and bass with a restorative centre. Thessa Torsing's moves in upper tempo zones have been defined by her light touch, finding power and presence in finely chiseled sounds and sculpting space between intricate, interwoven rhythms.

The dynamic movement of her pristinely moulded percussion is absolutely geared up for the club, but it's also matched with an uplifting, meditative sound palette which tempers the busy energy of the drums. Pushing and pulling on her arrangements with ever-increasing expressiveness and revelling in the subtlest of modulations to her kinetic beat systems, upsammy proves once again that moving in time to fast music can be an incredibly restorative experience.

Way back in 1962 all roads led to Dartford in Kent when a coming together of influences would result in the formation of the world’s greatest rock and roll band,The Rolling Stones...
Mick Jagger the singer and Keith Richards lead guitarist were both fans of early rockers Chuck Berry and Bo Diddley, whilst rhythm guitarist and harmonica player Brian Jones and pianist Ian Stewart would be immersed in the Blues that were coming from Chicago,the same influences would bring the original bassist Dick Taylor and drummer Tony Chapman to the party.

This album is produced by Neil Perch in the Alte Ziegelei studio and features the world reknowned Zion Train brass section along with vocals from Zion Train singer `Cara' and the award winning poet Roger Robinson. Featured on several tracks is Paolo Baldini playing guitars and bass guitar alongside veteran musicians - Trinny Fingers, Blacka Wilson, Dreada One and Professor Skank who hails from Crete. For this album Zion Train return to their roots with copious amounts of analogue Dub mixing performed by Perch on his TAC Scorpion vintage mixing desk. With mastering at the Pressure Mastering, and artwork by the highly acclaimed anarchist artist Marko Gin from Croatia, this album presents Zion Train at their creative, anarchic best. Zion train are one of the most unique and enjoyable live dub acts on the planet, their use of dynamic onstage dub mixing whilst performing alongside acoustic instruments and exceptional vocalists, make Zion Train one of a kind.

Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

A heavyweight lineup of dub techno talent comes together for a deep and textured journey. Krystian Shek and Milly James join forces on Promise, delivering two original productions alongside with reworks from Yagya and grad_u. As a bonus, this collection expands even further with digital-exclusive remixes from Raytek and Noosa Sound System that come with the original purchase.

'Glow & Shine' locks into a hypnotic groove from the outset, its analog warmth and weighty percussion forming a solid foundation. A crisp snare and hi-hat pattern provide an irresistible swing, while chords and vocals land together in perfect sync, draped in a rich layer of delay. Spacey breakdowns allow the ride cymbal to subtly emerge, giving the track an evolving energy. The closing moments strip things back, with the chords guiding everything to a natural finish. 'Better That Way' shifts into a more melodic space, balancing intricate drum programming with an emotive vocal delivery. The initial rhythmic stutter adds a unique touch before settling into a flowing beat. As layers build, the chords and voice intertwine seamlessly, evoking a deep, contemplative feel. The breakdown smooths everything out, allowing the track to breathe before a striking bassline shift in the final section brings fresh momentum. The last ambient passage is particularly stunning, offering a moment of reflection.

The legendary Icelandic producer Yagya creates his interpretation of 'Glow & Shine' sees it drifting into dreamlike territory, wrapping the original's elements in a lush, aquatic atmosphere. More of a song than a club tool, it glides effortlessly, capturing a serene, almost weightless mood. On the flip side, grad_u reshapes 'Better That Way' into a crisp, rolling dub excursion. Airy chords swirl above a commanding groove, with well-placed melodic flourishes adding an elegant touch. The arrangement continuously morphs, deepening its hypnotic pull.

Raytek's remix of 'Glow & Shine' injects a sharper rhythmic intensity, pushing the track into darker, more driving territory. The vocal treatment becomes a focal point, cleverly reshaped to make the singing the true hook. Meanwhile, Noosa Sound System takes 'Better That Way' into stripped-down, immersive terrain. The off-kilter drum work and layered percussion create a mesmerizing flow, while the winding structure makes it a DJ-friendly tool.

This well-rounded collection that explores multiple shades of dub techno, this release has both dancefloor energy and introspective depth. With a strong roster of contributors, it delivers a blend of classic textures and fresh perspectives.

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers. The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024. Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score. “What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said. The package includes an insert.

Repress on white vinyl featuring enhanced artwork, inspired by the original 2001 release.

Armagedda’s debut album, “The Final War Approaching”, is a hateful slab of youthful fervour. Originally released by the iconic cult label Sombre Record in 2001, this is black metal distilled to its purest, most unadulterated form. While drenched in lo-fi minimalism, the production is absolute perfection for the material. The piercing guitar leads cut through a dense fog of reverb, while the prominent bass and drums impart a malevolent force – all of which culminates in a sinister authenticity, inimitable and true.

Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.