Search:dr dre

Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies.

Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams.

Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union.

With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different.

In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best.

Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock.

The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey.

To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.

Pink Vinyl

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.

Following his debut 12” “Human”, Armonics teleports back to the Slow Motion mothership with his debut mini-album: Nuovi Orizzonti. Dreamy, lo-fi fuzz emanates from cassette tape and vintage circuit boards to synthetic travel music that will jettison you into outer space. Strap in. Tune out.

Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.

The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.

”How Many Dreams?” ist das mit Spannung erwartete vierte Studioalbum des australischen Dreiergespanns DMA’S. Mit den Singles ”I Don’t Need To Hide” und ”Everybody’s Saying Thursday’s The Weekend” ist das Album ein weiterer Schritt nach vorne für eine Band, die sich auf einem steilen Weg nach oben befindet.

Über die Single ”Everybody’s Saying Thursday’s The Weekend” sagt Gitarrist Johnny Took: ”In diesem Song geht es darum, die Dinge loszulassen, die uns bedrücken, und mit einem Gefühl von Optimismus in die Zukunft zu schauen.” – ein Grundgedanke, der sich durch das gesamte Album zieht.
Teilweise in Großbritannien mit Rich Costey (Sigur Ros, Muse, Foster the People) und Stuart Price (Dua Lipa, The Killers, Madonna) aufgenommen, bevor es in ihrer Heimatstadt Sydney mit Konstantin Kersting (Mallrat, The Jungle Giants) fertiggestellt wurde, ist ”How Many Dreams?” ein ambitioniertes Album mit einer klanglich weiten Landschaft; es gibt Songs zum Raven und Songs zum Weinen.
DMA’S tauchten 2014 mit ihrer Debütsingle ”Delete” auf der Bildfläche auf.
Seitdem hat die Band drei hochgelobte Alben veröffentlicht, wobei ihr letztes Album ”THE GLOW” (veröffentlicht im März 2020) auf Platz 4 in Großbritannien, Platz 1 in Schottland und Platz 2 in Australien in die Charts einstieg.

”How Many Dreams?” ist das mit Spannung erwartete vierte Studioalbum des australischen Dreiergespanns DMA’S. Mit den Singles ”I Don’t Need To Hide” und ”Everybody’s Saying Thursday’s The Weekend” ist das Album ein weiterer Schritt nach vorne für eine Band, die sich auf einem steilen Weg nach oben befindet.

Über die Single ”Everybody’s Saying Thursday’s The Weekend” sagt Gitarrist Johnny Took: ”In diesem Song geht es darum, die Dinge loszulassen, die uns bedrücken, und mit einem Gefühl von Optimismus in die Zukunft zu schauen.” – ein Grundgedanke, der sich durch das gesamte Album zieht.
Teilweise in Großbritannien mit Rich Costey (Sigur Ros, Muse, Foster the People) und Stuart Price (Dua Lipa, The Killers, Madonna) aufgenommen, bevor es in ihrer Heimatstadt Sydney mit Konstantin Kersting (Mallrat, The Jungle Giants) fertiggestellt wurde, ist ”How Many Dreams?” ein ambitioniertes Album mit einer klanglich weiten Landschaft; es gibt Songs zum Raven und Songs zum Weinen.
DMA’S tauchten 2014 mit ihrer Debütsingle ”Delete” auf der Bildfläche auf.
Seitdem hat die Band drei hochgelobte Alben veröffentlicht, wobei ihr letztes Album ”THE GLOW” (veröffentlicht im März 2020) auf Platz 4 in Großbritannien, Platz 1 in Schottland und Platz 2 in Australien in die Charts einstieg.

‘How Many Dreams?’ is the highly anticipated fourth studio album from Australian three-piece DMA’S. Featuring the singles ‘I Don’t Need To Hide’ and ‘Everybody’s Saying Thursday’s The Weekend’, the record is another step forward for a band on a still upwards trajectory. Partly recorded in the UK with Rich Costey (Sigur Ros, Muse, Foster the People) and Stuart Price (Dua Lipa, The Killers, Madonna) before being finished with Konstantin Kersting (Mallrat, The Jungle Giants) back in their hometown of Sydney, ‘How Many Dreams?’ is designed to be ambitious, a sonically vast landscape; there are songs to rave to, and songs to cry to. There’s a definite sense of celebration and revolution was brewing within the band on this record. DMA’S exploded onto the scene in 2014 with their debut single ‘Delete’. Since then, the band have released three acclaimed records with their last album THE GLOW (released in March 2020) debuting at #4 in the UK, #1 in Scotland, #2 in Australia. DMA’S have sold out worldwide tours including selling out shows at London’s Alexandra Palace and O2 Academy Brixton, and Manchester’s Castlefield Bowl, and graced the stages on festivals like Reading & Leeds, Glastonbury, Coachella, Lollapalooza, Outside Lands, Osheaga, Gov Ball and many more. UK April tour!

Proper Techno release straight for the dance floor.
A pack of six tracks prepared to make you dance with a lot of groove.

marbled vinyl in 3 different colours

Four years on from the release of Astral Projection, ASC's last LP for Horo, a re-listen reveals a body of work that still sounds prescient and current, mapping out a simmering landscape that stood proudly on it's own in the crowded world of electronica.

Hiding in Plain Sight takes the musical baton left by Astral Projection and expands the environment. The two opening tracks (No Mask, A Whisper In Your Ghost) are sumptuous palette cleansers that paint the walls with bliss. As we continue on, mesmerising waves of melancholy wash over Grey Area themed constructions, sometimes jagged (No Mask, Dying Star, Centrifuge, Galaxies), other times propulsive (Dreadnought, Surface Encounters). Pensive, frozen constructions that come off as soundtracks to movies only James has seen pepper the LP (Overscan, Dying Star, Mirrored Sequence) while the centrepiece of the LP soars unbound over stuttered, sculpted breaks (Orbiting Neptune).

ASC's great gift is his ability to create worlds of music that are densely layered and complex and yet project a sense of perfect effortlessness while they assimilate into your psyche.

Hiding In Plain Sight is not so much a journey, as a destination. A rich, full bodied alien planet intricately designed to envelop your senses.

— AZURE ist Ulrich Drechslers bisher grösstes Abenteuer

— Beinahe 5 Jahre dauerte die Arbeit an AZURE

— Mit AZURE versucht Ulrich erneut, sich allem gängigen
Schubladendenken zu entziehen

Ulrich Drechsler zieht mit seiner Musik immer grösser werdende Kreise. Was 2020 mit dem Jazz-Welt-Filmmusik Hybrid „Caramel“ begann, sich 2021 mit dem imaginären Neoklassik Soundtrack „Chrome“ fortsetzte, steigert sich 2023 mit AZURE zu einem elektro-akustischen Sturm.

AZURE ist Ulrichs bisher grösstes Abenteuer. Eine Reise in
komplettes musikalisches Neuland. Angesiedelt an der
Schwelle zwischen elektronischer Clubmusik, Trip Hop,
Dancefloor-Trance, Drum’n’Bass, Jazz Blasts und Filmmusik.

DIE MITGLIEDER VON CRAZY HORSE KÜNDIGEN "ALL ROADS LEAD HOME" AN, EINE MUSIKALISCHE REISE FÜR DIE HEUTIGE ZEIT

Mitwirkende: Ralph Molina, Billy Talbot, Nils Lofgren
& Neil Young

ALL ROADS LEAD HOME ist ein Album, das gleichermaßen aus purer Inspiration und der veränderten gesellschaftlichen Situation heraus
entstanden ist: Während der Pandemie nahmen Molina, Talbot und Lofgren in regelmäßigen Abständen neue Songs auf, jeweils mit anderen Musikern und an wechselnden Orten - so, wie es die
pandemischen Bedingungen zuließen. Anders als sonst, konnten sie nicht im Trio mit Neil Young arbeiten, was Herausforderung und Chance zugleich war, denn so mussten die Musiker zwangsläufig
schauen, wohin die neuen individuellen Konfigurationen führen würden. Sie führten, wie so vieles in der Zeit, zunächst einmal: nach Hause.

Dort, wo sich für uns alle das soziale Leben der Zeit abspielte. Die drei Crazy-Horse-Mitglieder nahmen jeweils drei Songs getrennt voneinander und mit unterschiedlichen Musikern auf. Und schauten dann, wie sie all das zu einem wundersamen Konsens unvergesslicher Musik zusammenfügen konnten. Das Kunststück gelang. Ein Album wie dieses hat man von der Band noch nie gehört.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom. Roach was late to music, releasing her first LP ‘Memories of the future’ after a decade of motherhood and studying at college.

The second LP ‘ Revolution of Mind’, released October 2018, again produced by James Skelly, continued the fine work laid out on her 2016 debut. Announced in the top 10 albums of 2018 by BBCRadio6 Music, the record was one of the runaway indie successes of the year. In 2019 the band completed a sold out UK tour and played a string of UK festivals including main stage performances at Glastonbury and Blue Dot among others. In 2020 the band played virtual gigs to help raise money for Greenpeace and the Music Venue Trust among others and look forward to a proper return to live music.

LTD CRYSTAL CLEAR EDITION


Electronic pop quartet Ladytron announce their highly anticipated seventh studio album "Time"s Arrow". Crystalline melodies enveloped in icy textures and rippling arpeggios, shoegaze, disco, and industrial sounds that combine in their signature electro pop style. Forming in Liverpool in the late 90s, Ladytron"s debut album "604" was released a year ahead of 2002"s "Light & Magic in 2005 - "a quantum leap record" said Pitchfork. The group were lauded as leaders of the new electro pop and electroclash scenes then flourishing, and "Light & Magic" went on to be influential, for both independent and mainstream electronic pop music which followed.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in

Gwendydd aus Sofia, Bulgarien, erobern die Extrem-Metalszene im Sturm. Die Female-Fronted-Band ist eine der sich am schnellsten entwickelnden Bands in der Szene. Die Band hat bereits ein Album veröffentlicht, das in Fachzeitschriften wie dem Rock Hard oder dem Metal Hammer auf großes Interesse gestoßen ist. Gwendydds zweites Album "Censored" ist der nächste Meilenstein in der Geschichte der Band und ein echter und brutaler Soundtrack verschiedener Realitäten, Hoffnungen und Träumen. Da sich die Welt nach langer Zeit wieder zu öffnen beginnt, wird die Band als Support-Act mit Dark Tranquillity und Ensiferum auf Tour gehen.

"Lightning Dreamers" is the new work by composer, trumpeter, post-rock and avant-jazz legend Rob Mazurek and a follow-up to the widely-acclaimed 2020 release "Dimensional Stardust".

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.

Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.

Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.

Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.

To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.

The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.

Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.

Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.

The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).

The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.

Nach dem Erfolg des offiziellen Anno 1800-Vinylsoundtracks feiern Black Screen Records und Ubisoft Mainz die populäre Aufbausimulation mit "The Four Season": Der opulente zweite Soundtrack entführt in die lebendigen musikalischen Welten der vier Erweiterungssets des Spiels und erscheint pünktlich zum 25jährigen Jubiläum der Traditionsmarke am 31.03.2023, natürlich auf audiophilem 180g Doppelvinyl. Alle neuen Musikstücke werden zur gleichen Zeit auf Spotify verfügbar sein. Das Album wird erneut in wunderschönem Klappcover mit Artworks von Ubisoft Mainz ausgeliefert und kommt mit kostenlosem Download-Code für den digitalen Soundtrack, inklusive 8 Bonustracks. Musikalisch dokumentiert die Doppel-LP nicht nur die enorme inhaltliche Abwechslung der vier Anno 1800-"Seasons", sondern auch die stilistische Bandbreite der Komponisten Steffen Brinkmann, Jochen Flach, Armin Haas, Alexander Röder, Tilman Sillescu und Matthias Wolf (Dynamedion). Die Stücke erzählen von versunkenen Schätzen und reichen Ernten, von Expeditionen in die Arktis und ins gefährliche Land der Löwen, von der Eroberung des Reichs der Lüfte oder dem überwältigenden Ausblick von den majestätischen Dächern der Stadt. Kurzum: Die Welt von Anno 1800 und der facettenreichen Spielerweiterungen wird als akustische Reise erlebbar gemacht. Anno 1800 ist eine von Ubisoft Mainz entwickelte und von Ubisoft veröffentlichte Aufbausimulation, in der Spieler die industrielle Revolution anführen, Metropolen errichten und mit Diplomatie, Handel oder Krieg um die Vorherrschaft wetteifern. Das erfolgreiche PC-Strategiespiel begeistert mehr als 2,5 Millionen Spieler auf der ganzen Welt mit einer Kombination aus bewährten Spielelementen, innovativen Neuerungen und dynamischem Spielverlauf in einer der spannendsten Epochen der Menschheitsgeschichte.

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Nach der Veröffentlichung der 2CD-Version des Albums Moonage Daydream im letzten Jahr, wird der Soundtrack nun am 31. März als 3LP Vinyl veröffentlicht.

"Moonage Daydream" beleuchtet das Leben und Genie von David Bowie, einem der produktivsten und einflussreichsten Künstler der jüngeren Musikgeschichte.
Auf Spielfilmlänge nimmt uns Brett Morgen mit in die Welt Bowies, erforscht anhand von großartigem, vielfältigem und nie zuvor gesehenem Filmmaterial, Live-Auftritten und Musik (Morgen sichtete vier Jahre die Archive des David Bowie Estates) seine kreative, musikalische und spirituelle Reise.
Durch den Film führt uns dabei die Erzählerstimme von David Bowie selbst.
Das Begleitalbum zu "Moonage Dream" enthält Songs aus Bowies gesamter Karriere, darunter bisher ungehörtes Material, speziell für den Film und dieses Album angefertigte Mixe und Gesprächspassagen Bowies.

Zu den Highlights des Tracklistings zählen ein bisher unveröffentlichtes Live-Medley von "The Jean Genie / Love Me Do / The Jean Genie", aufgenommen beim berühmt-berüchtigten letzten Ziggy-Stardust-Konzert im Londoner Hammersmith Odeon 1973 und mit Jeff Beck an der Gitarre. Weitere Raritäten sind eine frühe Version
des Hunky-Dory-Favoriten "Quicksand" und eine bisher unveröffentlichte Live-Version von "Rock 'n' Roll With Me", mitgeschnitten bei der legendären "Soul Tour" 1974.

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but...

That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself.

The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album.

Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).*

Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here.


As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary.

Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

Auf dem neuen Longplayer Crime Scene lenkt die bayuwarische Artrock-Institution ihre Aufmerksamkeit auf das Morbide, das Perverse, das Böse im Guten, die Abgründe des menschlichen Verhaltensspektrums in all seiner unvorhersehbaren Vielfalt, die dann manchmal auch so bizarr verstörend schlüssig daher kommt, wenn man denn ansetzt sie ergründen zu wollen.
In sechs dicht-atmosphärischen Tracks haben sich RPWL wieder einmal auf intensive Reisen durch die eigene Bandvita, als auch die jeweils eigenen Plattensammlungen begeben. Das Bemühen von Vergleichen ist immer so eine Sache, denn immerhin ist dies die 19te Veröffentlichung dieser international erfolgreichen Band. Die teils morbid-düsteren Themen werden mit old-school Fuzz konterkariert, das knapp 13-minütige "King of the World" mit seinem knurrenden Big Muff und seinen flächigen Vibes, oder "Life beyond Control", das mit seinem Offbeat-Einsatz sicher zu den härtesten Stücken in der RPWL Diskographie gehören dürfte, legen ihr Geständnis auf der Crime Scene ab. "Live in a Cage" bringt das das Kalkül des wie immer akribischen Sounddesigns dieses neuen RPWL-Albums auf den Punkt, nahtlos schließt sich "Red Rose" daran an. Pflaster auf Schusswunde als Prinzip. Aber der Wahn der normalisierten Gewalt wabert in so vielen Haushalten unter der vermeintlichen Harmonie, die die vier Musiker hier den Hörer glauben lassen. Wie fühlt es sich an, überhaupt kein Konzept von Freiheit zu haben, die Angst die bürgerliche Sicherheit zu verlassen aber größer ist? Allein im Lockdown-Jahr Jahr 2020 erfasste die Polizei über 119.000 Fälle von partnerschaftlicher Gewalt, 139 davon mit tödlichem Ausgang, die sich in über 80% der Fälle gegen den weiblichen Part in der Beziehung richteten.

Yogi Lang kommentiert aus künstlerischer Perspektive er sei schon immer von gesellschaftlichen und persönlichen Schattenseiten fasziniert gewesen. Kalle Wallner stellt die Gretchenfrage, wie man es denn mit dem Bösen an sich halte: "Wer macht uns zu dem wer wir sind? Ist es eine Frage der Genetik oder sind es doch die sozialen Umstände, unsere Kindheit, Schicksalsschläge, Druck oder Kränkungen?"

Das ‚Böse' bildet eines der Kernthemen auf Crime Scene, welches über das Band-eigene Label Gentle Art of Music erscheint. Als wertig aufgemachtes Digipak, drei unterschiedlichen Vinyl-Versionen (180Gr. Schwarz, 180Gr. Lim. Rot, 180Gr. Lim. Blau) und natürlich Digital.

eclipsed - Album des Monats:
"RPWL ist damit ein geradezu kriminell spannendes Werk gelungen. ....Auf "Crime Scene" spielen RPWL alle ihre Stärken aus. Tatorte gesichert. Fälle geklärt. Mission erfüllt. ... Wuchtige, cineastisch anmutende Arrangements, wunderschöne Melodiebögen, bewegende, leise, behutsame Momente und ein ausgesprochen spannendes Konzept hinterlassen einen starken Eindruck..."

SLAM (Highlight März/April)
Wieder einmal haben die bayrischen Artrocker RPWL ein Konzeptalbum am Start und wieder einmal kommt nach dem ersten Durchlauf der übliche Gedanke: Das ist absolut großartig, aber man hat keine Ahnung warum genau. Was haben die in Freising in ihrem Wasser, das ihnen erlaubt zu scheinbar egal welchem Thema eine Klangwelt zu bauen, die es so kein zweites Mal gibt? (...) Man kann gar nicht hoch genug einschätzen, wie wertvoll die Existenz so einer Band ist, es bleibt am Ende ein einfaches "Danke".

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year "Thee First Will To And Testament Ov Psychick TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings ov a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways. Out of print for 23 years, this is the ultimate edition for Psychick Youth - meticulously remastered, with the track order finally arranged into what was the original show. Available as ltd white vinyl 2LP w/ inserts, classic black 2LP w/ inserts and CD in glossy digipak with 12-page booklet.

Pressing Info: 180g clear blue vinyl, printed inner-sleeve. Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock'n'roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours' self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: "The musical backgrounds of each member are pretty broad but somehow when we come together there's a pretty clear definition of what our music should sound like. There's a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically."

Limousine has returned to this experimental ground where simplicity of composition, haunting loops and a sense of release are combined, but now voices come to dress their tracks and propel the vehicle into a new dimension.

Vocals in Limousine: a revolution for a quartet whose concept was precisely to do without them, so much so that they have often defined themselves as a band for singers who don't exist. From then on, the mission was to find that these singers, or singers, exist.

A cast that alternates iconoclastic figures and young hopefuls for a certified Grand Tourism trip: Malik Djoudi, Amber Burgoyne, Lucas Santtana, Victor Solf and Akhenaton take part in this new adventure. Rappers, singers or vocalists, these five performers slip naturally into Limousine's saps, as if each of the tracks had been specially cut for them.

Tropical stroll for the Brazilian Lucas Santtana, hip hop aside with AKH, soulful and intimate nocturne with the revelation from Brighton Amber Burgoyne or melancholic wandering with Malik Djoudi, Limousine purposely gathers a beautiful international French style.

For the rest, the quartet keeps its iconoclastic line and confirms its ability to create weightless themes.

In the end, Hula Hoop is an authentic Limousine album, whose elegance it perpetuates while constituting its expanded version.

Rootz Lions Band share the love for conscious roots reggae music & are dreadicated to taking the music forward in these times.

Bassplayer Carlos Silva is the founding member of the band. In 2016 he gathered some of the Dutch reggae scene's most experienced musicians, each of them having previously played with top local and international artists - most recently the band have performed with Army, Prince Jamo, Donovan Kingjay, Black Omolo, Iyiapo Tafari, Chezidek and more.

MLK is a singer from Sierra Leone, based in the Netherlands. He performs regularly live with bands and in 2018 released the acclaimed LP 'The World Is In Trouble' with The Breadwinners on the Bionic Dread label.

King Cooper (AKA King Kooper in the Jazz world) from Amsterdam has a long & fascinating career, playing reggae, jazz, funk & soul with the likes of Doe Maar, Sister Sledge, Coopertest & many, many more... proving himself as one the world's top saxophonists.

Hornsman Coyote from Belgrade, Serbia is one of the leading Trombonists in the modern reggae scene and works regularly with top producers & labels internationally, such as, Lee Perry, House Of Riddim, Rolling Lion, Jah Works, Earth Works, Jerry Lions to name but a few. His career started as the front-man for Belgrade Hard-Rock-reggae crossover band, Eyesburn & is a singer songwriter in his own right with a huge catalogue from over 20 years of continued performance & recording.

Plunder was recorded and mixed at Earth Works Studio, Amsterdam

Brendan Perry und Lisa Gerrard haben als Dead Can Dance eine ganze Reihe herausragender Veröffentlichungen eingespielt. Doch ihr fünftes Album "Aion" von 1990 nimmt dabei noch einmal eine Sonderstellung ein. Es wurde in Perrys Studio im Süden Irlands aufgenommen. Mehr als alle anderen DCD-Einspielungen spiegelt "Aion" ein tiefes Interesse an der Musik des späten Mittelalters und der Renaissance wider. Die aus früheren Werken bekannten elektronischen Klangteppiche tauchen nur noch vereinzelt auf, die Instrumentierung ist damit überwiegend akustisch. Teilweise kommen mit Drehleier und Dudelsack sogar historische Instrumente zum Einsatz, verpackt in mittelalterliche Chorgesänge. Das Spektrum reicht von sakralen Arrangements mit gregorianischen Gesängen ("The Song Of The Sybil", "The End Of Words") über beschwingte Tanzmotive ("Radharc", "Saltarello") und Liedern wie "The Promised Womb", die von Gerards magischem, berührend-traurigem Elfengesang leben. Atmosphärisch!

The return of the classic Demonstration Tapes double LP on vinyl from the one and only Dolly Mixture. Originally self released in 1984 - this 27 track set collects the band's demos from 1979 to 1983 of perfectly executed pop, indie pop and '60s girl group gems. The sound is raw but the charm and pure-pop songcraft manages to shine through.

Dolly Mixture should have been massive - so just sit back and enjoy these charming songs that have aged like a fine wine. Original copies sell for silly money and even the Germs of Youth reissue sells for over £100. This reissue comes with a brand new sleeve design.

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

Es weihnachtet sehr in Rocky Beach: Auf der Suche nach den passenden Geschenken geraten die drei ??? in einen neuen Fall in 24 Kapiteln.Beim Einkaufsbummel im Kaufhaus Garcy's werden Justus, Peter und Bob Zeugen eines Überfalls. Kein geringerer als der Weihnachtsmann des Garcy´s wird angegriffen. Jemand hat es auf den Sack voller Geschenke abgesehen ... und dieser jemand ist ausgerechnet als Weihnachtself verkleidet. Die drei ??? heften sich an die Fersen des Diebes und finden heraus, auf welches Weihnachtsgeschenk es der Elf abgesehen hat ...Sprecher:innen & MitwirkendeErzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichTante Mathilda Karin LienewegOnkel Titus Erik SchäfflerSanta Claus Claus WilckeFotograf Stephan SchadSandy Angela StresemannMutter Pamela PuntiMr. Puckle Christian RudolfMrs. Hatchett Petra KleinertMatty Yoshua Rudolf 1.Security Patrick Berg2.Security Philipp Stumpp3.Security Max König4.Security Tony Curting Pater Achim Schülke Engel Theresa Underberg1.Polizist Patrick Baehr2.Polizist Alexander Mettin3.Polizist Douglas WelbatAngestellte Katrin DeckerLarry Jan LangerLuke Bigelow Harald EffenbergMolly Regine LamsterEmmett Reinhold KammererDurchsage Andrea LüdkeKrankenschwester Scarlett LubowskiMann Helge HalvéBandenchef Lars SchmidtkeBuch und Effekte: André MinningerRedaktion: Maike MüllerRegie und Produktion: Heikedine KörtingTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Constantin Stahlberg, Jens-Peter Morgenstern und Thomas KörtingCover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Marco Sonnleitner, erschienen im Kosmos Verlag, Stuttgart. © 2021Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG(P) & © 2022 EUROPA a division of Sony Music Entertainment GmbH

Animalia's exploration of the lesser known artists of Melbourne continues with the launch of new sublabel, Cirrus, focusing on non-club, downtempo, ambient and otherworldly sounds from local Australian artists. The first release comprises of dreamy, non-linear modular improvised soundscapes from Melbourne/Naarm local The Soulscaper, a sideproject of Eugene Pascal, member of Animalia's electronic trio Menage. The Inside Voices LP offers a sentimental, familiar musical journey, evocative of the distinctive charms of life in Australia's south-eastern hub. All produced in the northern suburbs of Melbourne/ Naarm, the tracks provide an open window into the studios of the city's deeper side. The LP is a poignant follow on from the musical outputs of Animalia, staying true to the label's deep, cinematic and melodic style.

Third outing by the mysterious Turning Man, tip!