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Scratch The Super Ape is the 1976 studio album by Lee Perry’s studio band The Upsetters. The lineup consisted of Boris Gardener on bass, Mikey Benbow on drums, Earl Smith on guitar, Keith Sterling on keys and the horn quartet Bobby Ellis, Dirty Harry, Herman Marquis, and Vin Gordon. The album is recorded at Lee Perry’s studio and is both composed and produced by him.

This edition of Scratch The Super Ape features the original Jamaican album cover and is available as a limited edition of 2000 individually numbered copies on orange coloured vinyl.

Originally released 2020 on cassette and digitally.

Forged alone in a cave on the island of Java, and recorded in a fortress in Poland, Antonina Nowacka’s “Lamunan” is an intimate exploration of a mysterious darkness and the earliest of musical forms. Nowacka has co-created raw electronics and audiovisuals as half of WIDT and the enigmatic Mentos Gulgendo, but her solo practice focuses solely on the voice’s inherent connection to mental states, its ability to speak wordlessly, and the apparatus of speech itself – leading her to a six-month trip to study traditional music in Indonesia.

A day trip to visit a Javanese volcano turned into days of exploring, Nowacka eventually stumbling across a cave. “Rarely does anyone come there because Indonesians are afraid of the dark and the cave is poorly lit,” explains Nowacka. “I could sit there and sing for hours without feeling the passage of time.”

Hours spent in the dizzying darkness and echoes of Seplawan Cave produced a series of unaccompanied vocal motifs. Moans, chants, hums, and wordless cries met with the multi-million year-old facades of the stone walls. The freely flowing compositions seem forged from the same natural material as that stone, carved into shape by nothing but water, time, and solitude.

Upon returning to Poland, Nowacka recorded with Rafal Smoliński in the cave-like sonic conditions of the Modlin Fortress some 50km north of Warsaw. The intimate and surreal sound of the cave is recreated, Nowacka overlapping multiple vocal lines to create delicately interwoven chamber choral pieces, musically minimalist and emotionally maximalist. The album’s title – "Lamunan" – comes from the Indonesian word for ‘dreaming’ or ‘fantasy’.

Strut present a new repress of the influential first volume of 'Disco Not Disco' compiled by Joey Negro and Sean P as part of the label's 20th Anniversary.

'Disco Not Disco' was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell.

It was essentially a celebration of the sonic melting pot in New York during the early '80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook.

The album features full original artwork and Kris Needs' sleeve notes and is remastered and cut by The Carvery.

The latest edition in the Summer Sampler series offers 12 tracks from an assortment of global artists who are all connected by their chilled-out styles.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

Subtle message bordering on Dub and Detroit Techno.
Dynamic melodies and harmonies, straight from the motor city.

Limited Gold Vinyl

Son Lux reemerge with their forthcoming fifth full-length LP, Brighter Wounds, finding the trio in command of a daring, multidirectional sound, expressing naturally the proclivity for surprise and contrast that characterize the project's output. The new release explores the violence of love, the beauty of sacrifice, and the specter of impermanence.Anchored by its cinematic heart, All Directions,' the album ranges from the thunderous charge of Dream State' to the sputtering, soulful lilt of Slowly.' Ryan Lott's devastating vocal on "Aquatic," guitarist Rafiq Bhatia's blooming flower melismas on "Labor," and drummer Ian Chang's nearly inhuman rhythmic calculus on "The Fool You Need" illuminate a curious and delicate balance of precision and pain.Since 2015's Bones, the band's profile has grown in the worlds of music, dance, and film. Each member now charts their respective solo paths, and their individual adventures find a home within the purview of Son Lux. On Brighter Wounds, collaborators range from longtime cohorts Rob Moose (Y Music, Bon Iver, The National) and DM Stith (Sufjan Stevens), to new friends trumpeter Dave Douglas and reedist/instrument builder Arrington de Dionyso.Son Lux has made invention its hallmark through continued exploration and experimentation. With Brighter Wounds, the triad NPR proclaimed the world's most lethal band" now grips exhilaration and heartache in full embrace. In the words of the album's closing refrain, "is this what the resurrection feels like"

Back in stock !

First Word Records is very proud to present a brand new full-length album from Kaidi Tatham. 'It's A World Before You'.

Following on from two EPs released on First Word last year ('Changing Times' and 'Hard Times'), Kaidi has delivered us thirteen tracks that deftly illustrate his various talents as a multi-instrumentalist.

Kaidi is probably best known for his work with Bugz In The Attic, though his musical contributions over the years have also included Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler, Chris Dave, Macy Gray, King Britt, DJ Spinna, Mr Scruff and IG Culture to name but a few! In recent times, he's worked with DJ Jazzy Jeff on a variety of projects, including his most recent album 'M3', touring Europe for Jeff and Will Smith's reunion shows, and on the PLAYlist album 'Chasing Goosebumps', with Glenn Lewis, Stro Elliot (The Roots), Masego, Maimouna Youssef, Rich Medina, Daniel Crawford and more.

All this in addition to heating up dances around Europe with his inimitable DJ sets, and working heavily with First Word label-mate, Eric Lau (who also mixed this album) on a variety of projects, and adding releases to his already impressive catalogue on 2000 Black, Eglo and Theo Parrish's Sound Signature, with regular compadre, Dego (who features on the album's title track).

This album personifies Kaidi's diverse palette of sounds - bar Eric & Dego's features, every piece of music is played by himself. Largely flowing on a broken beat rhythm section, Kaidi effortlessly incorporates washes of afro, latin and funk throughout. From the harmonics of 'Your Dream Don't Mean A Thing', to the breakneck funk of 'Outta Audah', each and every riddim exudes energy. But this isn't simply a bruk record. The album is laced together with downtempo beats and future jazz interludes throughout, and some sweet synth boogie is never very far away, especially on the weighty vibes of 'It's About Who You Know'. To top it all off, there's two delightful nuggets of hip hop soul - Mancunian label-mates, Children of Zeus, feature on the neo-soul vibes of 'Out Here On My Own', and there's a feature from Amir Townes, better known as Uhmeer - an upcoming MC from Philadelphia, and son of one Jazzy Jeff Townes - who rides a sub-heavy, piano-led slice of boom bap, voicing an assortment of characters to tell the tale of 'Cupid'.

'It's A World Before You' is set to cause serious damage to sound-systems over the Summer, and show and prove once again the skills of one of the UK's best unsung musical talents, Kaidi Tatham.

Dieses brandneue 3fach-Vinyl-Boxset enthält insgesamt 45 Tracks, darunter 12 brandneue Songs namens THE INSIDE OUTTAKES, 13 bisher unveröffentlichte Score-Tracks und die 20 INSIDE Originalsongs. Alles in einer atemberaubenden Box mit 3 Doppelcover-LP-Hüllen mit bedruckten Innenhüllen und individuellen, durchscheinenden RGB-Außenhüllen. Die Box enthält außerdem ein wunderschönes 24-seitiges Textbuch, eine 12x12inch Kunstkarte und 3 INSIDE-Fensteraufkleber.

Bo Burnhams Comedy-Special INSIDE gewann 3 von 6 Emmy-Nominierungen (beste Regie, bestes Drehbuch, beste musikalische Leitung) und wurde für den Grammy Award 'Best Compilation Soundtrack for Visual Media' eingereicht. Das Originalalbum war das meistverkaufte US-Comedy-Album 2021 und erreichte Goldstatus. In vielen weiteren Ländern gelangen ihm Chartplatzierungen (DE #57, AT #35, CH #97) bis zu Top 10-Erfolgen (USA, Kanada, UK, Irland, Dänemark, Norwegen, Neuseeland).

Die seit langen Jahren als Partner zusammenarbeitenden, mit dem GRAMMY® Award ausgezeichnete, Bassist David Ellefson und der gefeierte Metal-Sänger Jeff Scott Soto haben sich für ein neues Projekt zusammen getan: Ellefson/ Soto- Vacation In The Underworld. Ganz in der Tradition großartiger Duos wie: David Coverdale & Jimmy Page, Tony Iommi & Glenn Hughes, Tommy Shaw & Jack Blades, Michael Sweet & George Lynch, um nur einige Beispiele zu nennen. Das Album enthält elf Tracks und drei Bonusaufnahmen, die zeigen, warum Ellefson-Soto von vielen in der Metal-Welt als Legenden angesehen wird. Von der feurigen Gitarrenführung des Album-Openers "Vacation In The Underworld" bis zur Prog-Metal-Wut des Closers "Rise To Win" haben Ellefson/Soto ein Debüt geschaffen, das Metal-Fans aus der ganzen Welt fesseln wird. Songs wie "Sharpen The Sword", "The Revolution" und "Live To Die Another Day" kombinieren verschiedene Stile und zeigen die verschiedenen Einflüsse, die Ellefson/Soto in ihren vier Jahrzehnten in der Musik gesammelt haben. Jade Etro von der italienischen Power-Metal-Band Frozen Crown hat einen Gastauftritt bei "The Day Before Tomorrow". Steve Conley und Ken Mary von Flotsam & Jetsam performen auf dem Titeltrack "Vacation In The Underworld". Vacation In The Underworld entzündet eine mitreissende aus Thrash-Feuerkraft, Rock-Swagger und hymnischem Arena Donner.

Black Vinyl

Zum 20. Jubiläum des Original Spider-Man Films mit Tobey Maguire in der Hauptrolle erscheint der Soundtrack von Danny Elfman erstmals in drei Varianten auf Vinyl: als Black Vinyl, Silver und Gold Edition.

Teno Afrika's 2020 debut Amapiano Selections drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs Where You Are expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on Where You Are. For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and KayCee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo MusiQ, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next.

Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum The Nocturnal Silence. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makabrem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt wurde. Mit 'Womb of Lilithu' veröffentlichen NECROPHOBIC ihr siebtes Album, das ursprünglich 2013 veröffentlicht wurde, neu. Die schwedischen Black-Death-Metal-Legenden legen dieses Album als letzte von insgesamt neun Wiederveröffentlichungen neu auf. Neben der ursprünglichen Albumversion aus dem Jahr 2013 enthält diese Wiederveröffentlichung zwei Live-Tracks als Bonus auf der D-Seite, die bisher noch nie veröffentlicht wurden. NECROPHOBIC zeigen sich auf 'Womb of Lilithu' von verschiedenen musikalischen Seiten und führen den Hörer durch ein tiefschwarzes Beschwörungsritual, begleitet von einer ausgewogenen Mischung aus Rohheit & Transparenz auch in Bezug auf die Produktion. 'Womb of Lilithu' ist wieder einmal ein wunderbares Werk schwarzer Death-Metal-Klangkunst aus Schweden. Wie schon die früheren Wiederveröffentlichungen 'Hrimthursum', 'Death To All' und 'Satanic Blasphemies' in diesem Jahr, wurde auch 'Womb Of Lilithu' von Dan Swanö im Unisound Studio remastered. Das Album wird erhältlich sein als Ltd. CD Jewelcase im Slipcase, Gatefold 180g Doppel-LP in schwarz mit 2-seitigem Einleger und einem doppelseitigen Poster im A2-Format sowie als Digitales Album.

The liner notes for "The Inner Mounting Flame" were written by the guru Sri Chinmoy – now that’s a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire. The wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class.

In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. "Meeting Of The Spirit", "The Dance Of Maya" and "You Know You Know" are the highlights of this first Mahavishnu Orchestra. Aspiration – struggle, hope and desire – is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later – and luckily it is available once again in the form of a vinyl disc.

‘Where the Viaduct Looms’ comprises nine Nick
Cave cover versions with vocals and
instrumentation by 14-year-old Nell Smith and
instrumentation and production by The Flaming
Lips. The album was mastered by Dave Fridmann
at Tarbox Road Studios.
 This inspiring and heart-warming story begin when
Smith, originally from Leeds (UK), moved to
Canada and first met Wayne Coyne at the age of
12 at The Flaming Lips’ headline show at the Sled
Island Festival, Calgary, in 2018 with her family.
Nell had already attended several Lips shows and
was a regular at the front of the stage, dressed in a
parrot costume and screaming out the band’s
songs. Coyne soon began to notice the kid in the
parrot suit and sang a David Bowie cover directly
to her at the show in Calgary, with Nell singing
every word back.
 A musical bond formed with Coyne staying in
contact with Nell and her father Jude as she
learned to play guitar, while their creative
relationship began to flourish when she started to
write her own songs.
 When a planned trip to record with the band in
Oklahoma had to be cancelled due to the
pandemic, Coyne suggested Nell record some
Nick Cave songs and email them to Oklahoma to
be backed by the band. Coyne chose Nick Cave
because Nell didn’t know him and wouldn’t have
preconceived notions as to how to sing the songs.
 LP pressed on blue 140g vinyl in 3mm spined
outer sleeve.

Kaizers Orchestra präsentieren eine komprimierte, aber dennoch umfangreiche Sammlung ihres facettenreichen und charismatischen, musikalischen Universums. Das norwegische Sextett, geliebt für seine kathartischen Rocksongs zwischen New Yorker Jazzmelodien und osteuropäischer Volksmusik, mischte mit seinem Debütalbum 2001 (das meistverkaufte Rockdebüt in norwegischer Sprache) die norwegische Szene auf, erreichte mit jedem Album die #1, gewann haufenweise norwegische Grammies, feierte Erfolge und tourte in und durch Europa, u.a. bespielte es dreimal die Roskilder Hauptbühne. Die 21 Songs repräsentieren die Kaizers Orchestra-Essenz und das Beste aus 21 Jahren 'Ompa-Rock'. Derzeit geht ihr 2010er Hit 'Hjerteknuser' auf TikTok viral und beschert der Band ungeahnte, neue Aufmerksamkeit passend zu ihrer 'Greatest Hits' LP.

Definitive collection of this seminal NYC punk/powerpop groups singles tracks as well as unreleased studio material. Restored and mastered from the original tapes. Includes extensive liner notes and never before seen photos of the group by David Godlis.

Nach einer Reihe explosiver Singles veröffentlicht die japanische Kultur- und Modeikone NIGO sein neues Album „I Know NIGO!“ nun endlich auch auf Vinyl. Die Platte enthält die Single und den Opener „Lost And Found Freestyle 2019“ mit A$AP Rocky und Tyler, The Creator, die drei Titanen der Kultur auf einem Epos vereint.
Zuletzt sorgte er mit „Heavy“ feat. Lil Uzi Vert für Aufregung. Es folgte „More Tonight“ feat. Teriyaki Boyz, der weltweit große Anerkennung fand.

Der Vorgänger „Want It Bad“ feat. Kid Cudi sammelte 4,1 Millionen Spotify-Streams und Rolling Stone nannte es „vibe heavy“.
I Know Nigo ist Nigos erstes musikalisches Werk seit fast zwei Jahrzehnten.

Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp – both in terms of sound and appeal
– she’s garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues.

Four years in the making,AreYou Still Somewhere? sees Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop.

Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one’s regrets are raked over in ‘Mom & Dad’, a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet.

Rounding off the year on Redstone Press, Debba comes correct with a varied 4 tracker laden with hefty subs and lock tight percussion.

The A-side starts out with fast-paced staccato kicks and the oscillating, warped bassline of ‘Called Up’. These elements soon develop into a twisted, energetic romp, showing Debba’s innate knack for upfront, low-end percussive work. Continuing with this theme ‘Direction’ adds reverb drenched vocals to the mix and ups the bass weight, with gritty, looping subs throughout. These two will put that soundsystem you’re dreaming of playing on to the test!

The B-side is more restrained and meditative but retains the heavy subs, opening with the downtempo and introspective chords of ‘I Said’. The drop in pace gives Debba’s signature beatwork and melodic flourishes space to breathe with the dreamy synths of ‘Subtle’ building up, then breaking down into a low-slung UK Techno roller.

Limited to 100 copies. DON’T SLEEP!

Teno Afrika's 2020 debut "Amapiano Selections" drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs "Where You Are" expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on "Where You Are." For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and Kaycee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo Musiq, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next. Also Available From Teno Afrika: Amapiano Selections LP/CD. Track listing: 1 Teno Afrika ft Leyla “Where You Are” 2. Teno Afrika & Diego Don “SK Love” 3. Teno Afrika “Bells” 4. Teno Afrika ft KayCee “Fall in Love” 5. Teno Afrika “Gomora Groove” 6. Teno Afrika “Halaal Flavour” 7. Teno Afrika & Diego Don “AK Love” 8. Teno Afrika ft Stylo MusiQ “Duma ICU”

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

Recorded both in Spain and Finland, the 13-track album Myriadi documents Tatu Rönkkö and Raúl Pastor Medall's first standalone collaboration, entirely created, performed and mixed by the pair. With Myriadi, the two artists walk listeners into a world that somehow manages to feel ancient and modern at the same time. It is peaceful and dreamy but also raw, solemn and unsettling. Tatu's improvisational, crude and almost ritualistic sonic approach blends in seamlessly with Raúl's more melodic and melancholic schemes of composition. With its simplicity and clarity, Myriadi belongs in the realms of dark ambient and drone as much as it belongs to a tradition of minimal acoustic music. Myriadi embraces loose ends, harmonic freedom and even atonality; regardless of whether it involves the sound of glass-blowing water bottles, a small Finnish harp, bell-like sounding metal plates or piano strings played with paint brushes and sticks, the overall improv-based character of the project gives Myriadi a primal, unpredictable and meditative feel. This spontaneous study of form and timbre has room for bold rhythmic pieces played with a drum set consisting of six floor toms, but also for hypnotic chants of granular flute-like sounds and spoken word poetry (featuring voices by Raúl and Tatu's moms). The spontaneity and lack of premeditation that permeate through Myriadi paradoxically reinforce the cohesiveness of the record, reminding us that sometimes creativity really benefits from avoiding too much analysis and overthinking. Rauelsson (Raúl Pastor Medall's musical moniker) and Tatu Rönkkö met in 2015 through common friends. They both have released music on the Berlin-based label Sonic Pieces and have collaborated on stage and in the studio on a number of occasions. Tatu appeared as a guest musician on Rauelsson's Mirall (2018) and contributed significantly on some film and TV projects that Raúl has worked on for the last couple of years. For the recording sessions of the dystopian TV Series Anna (2021) Tatu travelled to Spain where they explored countless rhythmic ideas with relatively untraditional instrumentation. These free and relaxed creative meetings led to other recording sessions completely unconnected to any scoring project, planting the seed for what Myriadi would become. RIYL: Ben Salisbury and Geoff Barrow, Alva Noto and Ryuichi Sakamoto, Jefre Cantu-Ledesma, Rafael Anton Irisarri, Brian Eno TRACKLIST: A1 Rombo A2 Vidre A3 T A4 Keinu A5 Ryminä A6 Ö B1 K B2 Silta B3 Golondrina B4 U B5 Kuvakudos B6 Pont B7 Muinoin

Nach triumphalen Auftritten der außergewöhnlichen Metal-Newcommer Brothers Of Metal beim Sweden Rock Festival und bei den deutschen Rockharz & Rock Am Stück Festivals folgte im Januar 2020 der Release des heiß-ersehnten zweiten Albums „Emblas Saga“.
Mit diesem Album setzten die Schweden ihren Siegeszug mit Charteinstiegen in mehreren Ländern und ausverkauften Shows auf der dazugehörigen Co-Headlining Tour fort. Top 10 der Albumcharts in Deutschland, Platz 4 in Schweden (physische Verkäufe), Top 20 und dabei drei Wochen in den Schweizer Albumcharts, sind nur einige Highlights die belegen, dass Brothers Of Metal die Band der Stunde sind.

Jon K and Elle Andrews’ MAL imprint returns with a new LP from one of the London experimental underground's best kept secrets, Rory Salter aka Malvern Brume. His music is rare, eccentric and mysterious - somewhere between Coil's bleak ritual magick and the BBC Radiophonic Workshop's most experimental, minimal fringes. 

Malvern Brume operates just beneath the radar, occasionally turning up at Café OTO lineups and on a smattering of releases for Low Company, Alter, Infant Tree and Kasual Plastik - but he’s never one to shout too loudly about his work. ‘Body Traffic’ is his most interesting set to date, laying bare a process melting found sounds, field recordings and spoken word into throbbing, pulsing rhythms. It’s an evocation of a fraught mindset during the early weeks of lockdown in 2020; sequestered in his flat next to a trainline, the infrasonic - and more audible - rumbles of rolling stock and a nagging sense of dread infecting his ambiguously discomfiting recordings.

Operating in a headspace that values world-building and vivid, visual emotionality, Salter’s careful melodies are familiar - the distant, weeping melancholia of 1970s British TV hangs off the recordings like net curtains, and his atmosphere loops into experiments that weave through bare traces of industrial music, blank-faced electro pop, and hedonistic Brummie techno, all reduced to a cinder. 

The mood is set on the bellyaching resonance and crawling walls of the title tune, while 'Through Beaked Fog Horns' is drowned beneath morning mists: lopsided synth drones choke and drift, percussion mutates into inebriated bubbles, and tape-f*cked environmental whirrs create an atmosphere that’s hard to decipher in one take. 

‘Moss Spines Clenched’ follows cryptic stains on peeling flocking, and the icy creep of ‘Tense Branches Waver’ quivers beyond a cracked windowpane. The artist’s voice appears from beneath a cardboard box fort in the imaginary world of ‘Cornered Into Sleat’ as a distant drum beats out a marching thud and traffic squeals are sculpted into chirpy whistles, before ‘Bri Dun’ resolves the eerie tension in an OOBE-like ascent above the dado-rail and across the tracks, watching himself fade into a dissociative bliss.

"All chatter falls quiet…” Salter murmurs thru saturation and white noise. It’s a sound that’s gonna stick with us for a while.

Previously unreleased 12” version track from the original The Twins track From the 1987 album Hold On To Your Dream.

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently
seeped its way into popular culture. Lovingly restored
and remastered on 180g vinyl with liner notes.^

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in
1984, the track list includes the latter day hit ‘Only You’
and ‘Things Fall Apart’, the melody of which was lifted for
Young Franco’s 2020 single ‘Fallin’ Apart’.

Flaminia’s first solo release on 47 features four mesmerizing techno rollers. London-based artist Flaminia makes her solo 47 debut with four sophisticated techno tracks that perfectly balance brooding intensity with dreamlike atmospherics. A producer with EPs on Samurai Music, VSK Series and her own label, Metempsychosis Records, Flaminia builds on her canon of previous work with 47033, adding to the label roster’s growing arsenal of expertly honed dance floor releases. On the A-side, two four-to-the floor heavyweights—”Pure” and “Burn Loudly”—offset bone-shaking kicks with plangent melodies that make these tracks uplifting despite their ferocity. The B-side takes a darker turn; “Back To Zero” is an icy broken beat that shines in its stuttering rhythmic complexity, while the closer, “Dissolved,” is just as foreboding: synths scrape and shatter like shards of glass against a spare and crunchy kick while Flaminia’s voice reverberates in the background. The entire package will be

Bantwanas, meaning children of Africa, is a collective of producers, songwriters and musicians collaborating to showcase quality African House music to the world. Bantwanas is a way to share African culture and music to the world, opening a channel that gives a global voice inviting the audience to connect with African culture through our music, while manipulating authentic African instrumentation.

Their latest release, Ixesha EP, comes via All Day I Dream, with the title track receiving a remix from label founder Lee Burridge and mainstay Lost Desert.

Phase Group continue their exploration of the fringes of contemporary electronic music with a release that brings together two separate projects born from analogue hardware improvisations.

‘A Given Moment’ presents the dub-laden, mind-bending and noise-driven music of Brussels-based artist and Vastechoses label head Lostsoundbytes, and the lo-fi, early morning lysergic experiments of Lowspace, an unearthed, forgotten collaborative project by French DJ and musician Low Bat and Dresden-based producer Heninspace.

This is music that takes you deeper into the vortex, made for dark and smoke-enveloped clubs and cosmic day-break afterparty moments. On the A-side, Lostsoundbytes continues his prolific output of masterfully crafted bass-heavy and dub-wise analogue machine jams, while the B-side presents two lost psychotropic experimental recordings by Lowspace made in 2016 upon a visit by Low Bat to Heninspace’s Dresden studio.

'A Given Moment' will be out on Phase Group in December 2022

Artwork by Andrija Čugurović
Mastered in Glasgow by Murray Collier.
Professionally dubbed to cassette in Prague by Headless Duplicated Tapes.

Alexandra Hamilton-Ayres' neues Album Play Echoes ist
eine Zusammenarbeit mit Her Ensemble, dem ersten
britischen Frauen- und non-binary Orchester. Play Echoes
ist eine zutiefst meditative, betörende Musiksammlung,
die klassische Instrumentierung mit elektronischen und
elektro-mechanischen Elementen kombiniert.
Das aus zwölf Liedern bestehende Album hat seinen
Ursprung in einer intimen Aufnahme eines Gesprächs
zwischen der dreijährigen Hamilton-Ayres und ihrer
Mutter, von der Teile im unschuldig optimistischen Opener
Olympia zu hören sind. Von der vibrierenden, vom
Klavier geführten Kammermusik von London '92 über das
extravagant-romantische Stone Stairs bis hin zu den
plätschernden Synthesizern von Grenadine und Unbound
versprüht die Platte einen Hauch von Nostalgie, der
sowohl bitter-süß als auch eindringlich ist. Play Echoes ist
ein höchst persönliches Album - und bestätigt
Hamilton-Ayres als eine der aufstrebenden und emotional
fesselndsten Komponistinnen ihrer Generation.
Das Album wurde hauptsächlich im LEITER Studio im
Berliner Funkhaus aufgenommen und ist auf CD & LP
erhältlich.

Following Notte Infinita's 'I Lost All My Data' release on INDEX:Records, the Berlin-based artist mediates the balance between dub-laced frequencies, introspective melodies and atmosphere on the next Oscilla Sound release. His propulsive Atmosfera three-tracker focuses on digital signal processing and embraces the shimmery, hyper-realistic synthetic quality of FFT manipulation. Notte Infinita explores emotional narratives through sonic gestures and textures, taking inspiration from spaces, dreams and the experience of manipulating digital artefacts.

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Robohands, aka Andy Baxter, joins the Bastard Jazz family with a new EP titled "Giallo." Partly inspired by Italian Giallo (meaning "yellow") film soundtracks of the late 70s and 80s, as well as the experimental sounds of pioneering krautrock bands like Tangerine Dream and NEU! Armed with an old Juno 60 synthesizer, Andy wrote, recorded, and mixed all the parts himself, including the live drums, adding in multiple layers of effects.

Spread across 8 tracks, "Giallo" spans atmospheric meditations ("Giallo;" "Claws;" "Relax") to jazzy improvisational explorations ("Fear"), interwoven with brief solo instrumental tapestries ("Horror;" "Float By Like Clouds;" "For the Different"). There is an elegant cinematic quality to the EP, further refined by Robohands' production prowess and technical chops. "Giallo" builds on the Robohands sound, taking it in an exciting, more experimental direction.

HITGIRL is the 2022 album from the multiplatinum Chicago-born rapper, Dreezy. Exclusively produced by the legendary producer, Hit-Boy, the album showcases Dreezy’s signature confidence and charisma as she spits with fiery sharpness and precision over Hit-Boy’s larger than life beats. Enlisting the likes of Future, Jeremih, INK & Coi Leray, the 10 track album kick starts a new chapter for Dreezy, marked by the single, “They Not Ready.” Speaking about the project, Dreezy states “Hit-Boy pushed me out of my comfort zone. I was thinking about songs differently. When I laid it down, I saw his vision and trusted him. I don’t know the last time this has been done. There aren’t any top producers who are co-signing females like this right now. We are making history for real.”

The premier release on Multitone Recordings comes from dreadmaul & No_Name out of Germany. The A side, Hand of Sobek from dreadmaul, is a somber, halftimey, tech step number sprinkled with breaks, pads and cymbals that shimmer through a vast and bleak darkness. The flip, Obscure
Prophecies, is a collab between both artists and more of a relentless, techy floor anthem. Each tune being in a bit of a different style from the other, we think this record will satisfy purveyors of various tastes in darker dnb.

Diffuse Reality Records presents the seventh reference in its DREA catalogue.
This series focused on Techno, straight to the dance-floor. Four original tracks from Bias, and then you have two remixes by Hironori Takahashi & Squaric.

Japanese street music icon, Yasushi Ide released new album featuring Don Letts, Josh Milan, Jeff Mills, DJ Krush and more.


"This is a sound track for rude, underground adults! Amazing mixture of reggae, dub, funk, jazz, rock, afro, house. Masterpiece that goes beyond genres of music created by great producer, Yasushi Ide who has relentless motivation and global network of talents." - Shuya Okino (Kyoto Jazz Massive / Kyoto Jazz Sextet)

"Great album! It is amazing to finish such a big project involved many collaborators at this high quality only in a year and 4 months. The magic of Cosmic Suite is there are variety of styles, and it makes you feel deep and spiritual at one point, but at the same time you can feel relaxed. Also, I have to say that the sound quality is great. It sounds very clear and it can only be done with top level recording and mixing professionals." - Ken Ishii

Yasushi Ide is the Japanese street icon. In the 90's he was called "the Guru of Shibuya-kei" which was the movement of Shibuya style of eclectic pop by the artists such as Cornelius, Pizzcato Five, or Original Love who is once again recognized in City Pop revival of recent years. (Yasushi Ide was a manager of Original Love, and also Kenji Ozawa)

Through his works, he has been creating the global network of musicians such as Josh Milan of the Blaze, house music icon, Don Letts, the pioneer of connecting punk rock with reggae, and Jeff Mills, Detroit techno legend, and released a great amount of hi-quality music on his label, Grand Gallery.

The Cosmic Suite project started in 2020, during the pandemic. It started as a project to reconstruct the parts of music Jeff Mills created for Chieko Kinbara, a violinist which Mills produced. However, it turned out to be 36min of spaced themed original track = Cosmic Suite.
(There are few phrases of Jeff Mills music left in the final version) This masterpiece created a buzz in the music scene in Japan and overseas, and became Yasushi Ide's new beginning.

In June, 2022, Ide released "Cosmic Suite 2". Originally, Cosmic Suite was an instrumental. "Cosmic Suite" is the reconstruction of "Cosmic Suite 2" with the element of vocals. In this project, Don Letts, Josh Milan, DJ Krush are featured as guest musicians. Moreover, drums of Tony Allen, the legendary Afrobeat drummer, and Style Scott, a drummer known for his works in early days of ON-U label, and Gota Yashiki, a Japanese drummer known for his works with Soul II Soul are featured in this album. Also, Japanese brightest talents such as Kan Takagi of Major Force, Kaoru Inoue aka Chari Chari, Tomoyuki Tanaka aka Fantastic Plastic Machine and Calm are featured as artists and engineers. This is the true dream team of the Japanese underground music scene.

The artwork is done by Josue Thomas, the founder of popular fashion brand, Gallery Dept. He is also featured as poetry reading artist in track 1 of "Cosmic Suite 2." Ide and him collaborates in various projects under the concept of "Universal Music Connection."

Yasushi Ide's also well received as a dub artist. (beside his wide range of musical styles)
His dub cover of Bill Withers' "Ain't No Sunshine (Space Dub Mix)" is selected for "Late Night Tales mixed by Don Letts" in 2021.

Highlight of "Cosmic 2" is the unique dub sound in tracks such as "Lava" feat. UA, the Japanese singer often described as "Japanese Bjork", and "Sumimasen Suite" feat. Rebel Dread (= Don Letts).

Tokyo is the melting pot of street music from all around the World such as Dub, Jazz, House, Hip Hop, Afrobeat, Punk rock, Techno,,, You can see the influence of all spectrums of rebel music in this album. This unique avant-garde music can only be created by Yasushi Ide, who has been heavily involved in this truly unique music scene for a long time.

Eine brandneue, unveröffentlichte Ergänzung zu Dream Theaters umfangreichem "Lost Not Forgotten Archives"-Projekt: "Live at Wacken (2015)" zeigt die Band auf dem weltberühmten deutschen Festival während ihrer Sommer-Europatour, bei der sie ihr 30-jähriges Bandjubiläum feierte. Enthalten ist Material aus der gesamten Karriere der Band bis zu jenem Zeitpunkt, darunter 'Burning My Soul', 'Panic Attack' & 'Bridges in the Sky'.

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

Vinyl Only

A key player in the French electronic music scene, DAMIEN ALMIRA launches his new single vinyl label ALMIRA RECORDS.

On the 2nd release, he resumes his famous pseudonym TIMID BOY :
"Blond Tall Speed" is a deep tech dancefloor anthem.
The remix is directed by Romanian hero MIHAI POPOVICIU for a delicate journey in depth.
'Awao' is a beautifull dreamlike rhyme performed with the voice of the French-Russian Parisian u-datcha.

"Infinite Echo" is a fresh suite of voyaging Balearica, tinged with ocean mist. Over the years, the incredible British duo Seahwaks have crafted an expansive catalogue of trippy and cosmically-influenced, ambient instrumentals, which has seen them collaborate with the likes of Badly Drawn Boy, Tim Burgess and Jon Goddard (of Hot Chip). Helmed by perennial co-captains Jon Tye (founder of Lo Recordings) and Pete Fowler (acclaimed Welsh visual artist), their latest collection emerged from a series of scraps and vignettes informed by a breadth of eclectic chillness (mid-80's digital new age in the Higher Octave vein, Michael McDonald remixed by Oneohtrix Point Never, etc.), then fleshed out with Lyra Pramuk's Siren Songs app and Holly Herndon's Holly+ software, rendering it choral, otherworldly, and "emotional in a new kind of way." The results sound elevated and ineffable, like music heard at the edge of dreams, hinting at worlds yet to come.

We are happy to welcome a true classic to our label, none other than Jeroen Search, a true veteran with countless pivotal releases on the best labels out there.

On this occasion, he has delivered four cuts.

Dutch veteran producer wastes no time but lets his ever evolving array of machines do the talking. They speak in many tones - be it snappy or propelling, vivid or restrained, stomping or intricate - yet they all retain Searchs consistently singular voice.

all drenched in the signature analog Search-sound.

Limited edition reissue of this legendary, rare and dreamy electronic ambient new age album.

Originally created and released in a small edition in Japan back in 1987 by the mysterious musician/ magician Shiho. The album features floating shimmering synthesizer textures. It's unique and extra ordinarily serene with shifting tone colors and spatial textures bringing the listener to a special magic place. It's as beautiful as it captivating. There's also a haunting edge to parts of the album sounding like what could originally have influenced David Lynch and Angelo Badalamenti when they composed the soundtrack to the original Twin Peaks series. Shiho who loves to make improvisational music began studying classic piano at the age of five. She says she gets inspiration from the celestial realms but she never considers melody. She draws a musical picture. Creativity is the unfolding of the unknown realms within the self. Through our chosen ways of expression, each of us is daily creating a unique universe, a unique environment.

The universe created by each and every being in endless repetition are messages of the universe. The breath of this music, expressed from my present environment, flowing through a myriad of places as environmental music is my expression of The Body Is A Message Of The Universe. Part of the album also saw a limited US CD release in the late 1980s which is hard to come by today.

Although Shiho Yabuki continued her career in Japan, both as a musician and magician and became a pioneer of healing music in Asia, for most western listeners it was like Shiho was one of those mysterious artists who puts out an album and then is never heard from again.



Tracks: Tomoshibi / Samadhi / Winterland / Tenshingoso (Earth, Wind, Fire, Water and Spirit) / Forestland / Tawamure/Cosmic Dance / Energy Flow/Ki No Nagare (The Way Of The Energy Flow)

Produced by Laurel Halo and released via Norway’s respected Smalltown Supersound label, Anja Lauvdal’s first solo release, From a Story Now Lost, is a gorgeous musical essay reflecting on time, its perception, and lost histories rediscovered. Finally exploring her own voice after more than a decade of collaborative improvisational playing – starting at her time in jazz conservatory in Trondheim – the album is a jewel of subtle beauty and innovative detail.

A freeform musician on piano, synthesizers, and electronics, Lauvdal’s discography stretches back to 2013 and includes her participation in a myriad of ensembles and collaborations exploring the limits of sound and music in many forms, including noise, jazz, and more. Following her move to Oslo after graduation, she became deeply embedded in the music community there, touring with Jenny Hval as well as playing on her records. When pandemic hit and isolation was the norm, Lauvdal began working on her own, recording her improvisations in an attempt to capture something new for herself

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

At the start of the pandemic, Carrellee turned to the microKORG and Yamaha DX7 synths after finding traditional folk music to fall a bit flat in expressing the personal intensity of the year including the dissolution of her marriage. Following her weekly demo videos amassing nearly one million streams on Facebook in 2021, Carrellee teamed up with producer Brett Bullion (Low, Poliça, Now Now), Con Davison (Bad Bad Hats) and Huntley Miller (Lizzo, Slyvan Esso) in Minneapolis to distill 40 demos down to 10 cohesive album tracks. The resulting album conjures crushed artifacts of desire, with each instrument processed through crumpled and scorched analog tape. Carrellee draws inspiration from 80's new wave icons Cockteau Twins and Kate Bush, as well as a wide variety of Italo disco and synthwave artists. The single and music video "Morning Sun" by Doug Pray (Hype, The Defiant Ones) will be released in advance of the album on Negative Gain (Mr Kitty, Twin Tribes) with tour dates to follow.

Die Powerhouse-Rocker Fozzy veröffentlichen ihr neues Album BOOMBOX, ihr erstes Album seit fünf Jahren. Das Album, das die US-Top-10-Singles "Nowhere to Run" und "Sane" enthält, wurde erneut von Johnny Andrews produziert. FOZZY-Frontmann Chris Jericho sagt über das Album: "Judas... sowohl das Album als auch der Song waren ein RIESIGER Durchbruch für FOZZY. Es brachte uns auf das nächste Level und brachte uns eine gute Position im Rockradio und als Live-Magnet ein. Daher wussten wir, dass wir das Album unseres Lebens nachlegen mussten. BOOMBOX ist dieses Album! Ihr habt bereits die Top-Ten-Singles "Nowhere To Run" und "Sane" gehört - knallharte, eingängige Songs, die den Ton für dieses Album angeben. Aber es sind "I Still Burn", "Army Of One" und "Relax", die meiner Meinung nach dieses Album und diese Band noch weiter nach oben bringen werden! Also dreht die Lautstärke auf und haltet euch die BOOMBOX an eure Ohren!!! Es wird ein wilder Ritt werden."

Fresh after remixing Exhausted Modern, Overlook returns to the label with BT76.

On the A-side, Soft Focus delivers his trademark sound, dripping urgency and dread. 7 minutes of restrained, rolling claustrophobia.

On the flip, Barking slows down the tempo with a noir illbient-informed rework.

Ltd Edition!

Schwarze Nachpressung des Nada Surfs Album, original veröffentlicht 2012.

Die "Blue Record" EP enthält 5 Songs: die beeindruckenden Akustikversionen von drei Songs des 2013er Albums ,II" sowie zwei fantastische Coverversionen, "Swing Lo Magellan" (DIRTY PROJECTORS) und "Puttin It Down" (BECK). "Ich habe erst im letzten Jahr damit angefangen, Akustikgitarre zu spielen. Die Idee, dass eine Gitarre Sound in Elektrizität übersetzt und es dann richtig laut wird, mochte ich schon immer. Ich dachte, dass die Akustikgitarre vielleicht ein bisschen zu niedlich für mich ist. Doch nachdem uns einige Gelegenheiten geboten wurden, Akustiksets zu spielen, um die neue Platte zu promoten, habe ich beschlossen, das Ganze als Herausforderung zu betrachten und zu versuchen, akustisch zu spielen und dabei nicht langweilig zu klingen. Schließlich fand ich es schon immer toll, wie Arthur Lee akustisch spielt und fragte mich, ob ich das wohl überzeugend hinbekommen könnte. So wurde ich praktisch durch ein paar Radiosessions dazu gezwungen, mir die Akustikgitarre anzueignen und beschloss, ein paar Songs akustisch aufzunehmen und zu veröffentlichen, weil den Leuten das anscheinend gefiel. Alles wurde in meinem Keller mit nur einem Mikro direkt auf Band aufgenommen." - Ruban Nielson, UNKNOWN MORTAL ORCHESTRA ENG "I only started playing the acoustic guitar last year. I'd always preferred the idea that the guitar converts a sound into voltage and then becomes really loud. I thought the acoustic guitar was a little bit too twee for me or something. But after being offered some opportunities to play various acoustic sessions to promote the new record, in situations where it wasn't possible to record the whole band, I decided to treat it like a challenge to try and play acoustic and not have it be lame. After all I was really into Arthur Lee's ability with an acoustic and started wondering if I could make it sound convincing. Anyway, after being somewhat forced to develop some skill on the acoustic through these various radio sessions and things like that I decided to record some songs acoustically and release them since people seemed to be liking the way I was doing it. Everything was recorded straight to tape in my basement with a one mic set up." - RUBAN NIELSON, UMO


[a] 01. SWIM AND SLEEP (LIKE A SHARK) [ACOUSTIC VERSION]
[b] 02. FADED IN THE MORNING [ACOUSTIC VERSION]
[c] 03. SO GOOD AT BEING IN TROUBLE [ACOUSTIC VERSION]

repressed !

Emotional Rescue reaches ten releases and their second to be defined as a "cosmic classic" though that doesn't really do The Dream by The Ganges Orchestra full justice. Discovered and championed by a young Daniele Baldelli, The Dream mixed duggis, shenai, tabla, conga and guitar through Indian raga and European rhythm structures to create a unique musical vision. Long known to more open minded collectors and DJs, the whole EP has long been sought after and staple of many sunset and sunrise experiences. For this reissue, Emotional Rescue take it further with a longer version, previously unreleased track "The Calling" which is essentially an ambient version of "The Dream" and has been extended especially for this release by The Invisible Hands. In addition they also provide a short edit of the original releases 24 minute epic "Meditasian".

Pique-nique Recordings is proud to present People’s Dream, the latest solo release from NYC-based vibraphonist and electronic producer Will Shore.

Inspired by Francis Bebey and Don Cherry’s electronic music from the 70s and 80s, People’s Dream draws heavily from modal jazz, minimalism, and dance music. It blends tightly composed percussive phrases with freely moving melodic improvisations that feel as much at home in a DIY loft space as they do on a custom-built sound system at Nowadays.

Shore says: “The vibraphone is the thing that I know best, but I’ve always found the instrument quite limited. Its pure bell-like tone can seem too pretty to evoke a wide range of feelings. I normally find ways to obscure that pure sound: I distort it, pitch it down, or layer rougher textures over it. But for People’s Dream and Lucid, instead of obscuring the sound quality, I decided to embrace it.

I used the vibraphone for not only melodic parts but also as a driving rhythmic element. I let the entrances and exits of melodies appear and disappear in a dream-like way, and added electronics and percussion as texture, to create a more cinematic atmosphere.”

On the B-side, UK producer and label-head Tom Blip (Blip Discs) flips Lucid into a driving, bass-oriented club track, fit for vibrant dancefloors this summer. On the back of successful collaborations with East African artists Swordman Kitala and Mubashira Mataali Group, Blip unleashes a trademark peak-time drum track designed to elude any dream-like state.

People’s Dream is the seventh release on NYC/Sydney label Pique-nique Recordings, which worked with Shore in 2019 on their signature event, Take Two. Shore led a nine-piece band through a reinterpretation of Albert Ayler’s Spiritual Unity for the occasion, utilizing his mentor Butch Morris’ conduction technique to rapturous effect.

11 track album by Patrick Cowley. Perhaps one of the most revolutionary and influential people in the cannon of disco music, Cowley created his own brand of Hi-NRG dance music coined 'The San Francisco Sound.' By the mid-70ies, Patrick's synthesizer skills landed him a job composing and producing songs for disco superstar Sylvester such as 'You Make Me Feel (Mighty Real)', 'Dance Disco Heat' and 'Stars.' This helped Patrick obtain more work as a remixer and producer. Of particular note was his 18-minute long remix of Donna Summer's 'I Feel Love'. By 1981 Patrick released a string of dance 12inch singles, like 'Menergy' and 'Megatron Man', creating the soundtrack for a generation. Prior to his passing on November 12, 1982, he recorded two more Hi-NRG hits, 'Do You Wanna Funk' for Sylvester and 'Right On Target' for Paul Parker. In 1981 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. John had heard about Patrick's music from the legendary Sylvester and proposed he write music for his films. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scene. 'School Daze' is a collection of Cowley's instrumental songs recorded between 1973 and 1981 found in the Fox Studio vaults. Influenced by Tomita, Wendy Carlos and Giorgio Moroder, Patrick forged an electronic sound from his collection of synthesizers, modified guitars and self-constructed equipment. The listener enters a world of dark forbidden vices, introspective and reflective of Patrick's time spent in the bathhouses of San Francisco. The songs on 'School Daze' range from sparse prototechno to high octane funk to somber post-punk to musique concrete, revealing the depth of Cowley's unique talent.

Brad P, Producer from UK/US, delivers a nice selection of Deep Techno and Future Jazz on the swiss label Moto Music. Besides DJing and producing Techno Music he also runs the label Inner Shift Music and Common Dreams together with Rai Scott

RNT welcomes Brooklyn-based band 79.5 to the family with the first single from their forthcoming eponymous LP. Soulful and psychedelic, the haunting melodies of Club Level float above a steady strutting rhythm section, punctuated by moaning baritone saxophone and drenched in washy reverb.

NYC mainstay Eli Escobar crafts a masterful remix that leans into 80s nostalgia, with a soundscape and arrangement nothing short of perfection.

Recently discovered in the vaults - 10 previously unreleased and virtually unheard studio recordings.

Including covers of Bob Dylan, Sly & The Family Stone, The Smiths, Led Zeppelin, Bukka White and Jevetta Steele, in addition to the first ever studio recording of his signature song 'Grace' and 'Dream Of You And I', an unheard original recording which informs the deeply intimate and profoundly personal mood of the album. These recordings represent the breadth of Buckley's influences and talent for interpretation.

Recorded prior to the sessions which would become his seminal debut album 'Grace', these tracks offer a unique insight in to the creative process of a developing genius and inimitable immerging talent.

The Columbia/Legacy release of Jeff Buckley's You and I has been overseen by the artist's mother, Mary Guibert.

* The 7” A side, ‘My Homeland’, is a Sax/Hornz instrumental track and features top Jamaican Hornzman, Alvin Davis. The B side has a heavyweight Dub from Alien Dread.

Alvin is also well known ref Jazz and other musical areas, as well as Reggae and has worked with many Jazz, Soul and mainstream artists including: Andy Hamilton, Rose Royce, Prince, Edwin Starr, The Foundations, Neville Staples (Specials & Fun Boy Three), Jackie Graham, Nigel Kennedy and Reggae-wise, Alton Ellis, Macka B, Maxi Priest and David Hinds (Steel Pulse) and many others.

An alternate version of A side track will be featured on the forthcoming Alvin Davis & Alien Dread album: Dreadland (Iron Sound).

Melanchole is a collection of ambitious lo-fi pop songs recorded by Daniel Johann in the winter of 2012 in Wellington, New Zealand, when Johann was only 15 years old. The songs deal with the awkwardness of growing up, the pains of being apart, and the anxieties of being alive and real. Originally self-released on bandcamp, the album became a viral internet sensation, garnering over 100 million streams on Spotify and a large TikTok following. In 2018, Danger Collective remastered Melanchole and reissued it on vinyl with a new track listing; the first pressing sold out within the first 24 hours it was released. This third pressing will be released on doublemint green vinyl with a brand new album cover, packaged with an OBI strip and a 12x12 insert. Johann continues to remain somewhat of an enigma, rarely performing live or giving interviews. After almost a decade since his debut, Johann is currently in the midst of recording a follow-up album. “Really just the first of its kind. A study in experimental music and conceptualizing sounds that not many else would have a vision for.” // “The echoing soundtrack of loneliness in my head.” // “One of my favourite lo-fi records finally gets remastered and released on vinyl. I daresay that the changes to the track listing make this version of the album even better than the original.” // “I didn’t think it was possible for home to feel so melancholy.” // “Amazing amazing AMAZING lo-fi album.” // “This album habis a hazy, dreamily sedating effect on the careful and passionate listener. Simply put this album is entrancing with weeping, wistful melodies synchronized with Picasso’s blue period.” // Track Listing: 1. I Dont Know Anyone, I Am 2. Stones Pull Out Heart 3. I Dont Want To Ask Your Father Or Anything 4. Melanchole / Diary Pt. 1 5. I Was All Over Her 6. Like You Know I Get Old 7. Post-Traumatic All-Night-Long 8. Voice Vi 9. Reprise 10. (Dream) 11. Needs No Progress, I Will Lie 12. Girl 13. Te Ahora

Dread Recordings is very excited to present the Limited Edition USB of the forthcoming album from Dark Soldier 'Stand Up'.

Not due for full release until the end of 2022 this USB edition contains 20 TRACKS, including 5 EXCLUSIVES that will never be available anywhere else.

This USB is available on a first come first served basis and once sold out, will not be made available again!

1991 recording led by Swedish vibraphonist Lars Erstrand, which is
appearing on vinyl for the first time - this remastered edition is pressed
on 180g vinyl
Erstrand's third recordings for Opus 3, this time with his quartet, which includes
one of Sweden's best keyboard players, Kjell Öhman, playing both the piano and
Hammond B3 organ. Lars Erstrand, who has been ranked as No.3 in the world on
his instrument according to Jazz Journal International, is also joined by Leif "Gus"
Dahlberg on drums and Tommy Johnson on bass.
"Erstrand is always unhesitating, fluent playing gives the unfailing impression of a
musician in total control He can depict the most ethereal moods, as in the title
piece Dream dancing...One is struck, not least by his sense of sound and nuance
in this consistently well constructed, subtle performance...An obvious candidate
for Recording of the Year!" - Audio Video

2022 Repress

During the 80's dancehall era a number of record producers claimed to be the real authentic sound of downtown Kingston but Ossie Thomas' Black Solidarity label, operating out of Delamare Avenue in the heart of the ghetto, was the real deal ....

This was the start of the 70's when the political rivalry got heated between JLP and the PNP, - also the shots start fire ....
I said to myself if you're going die, you're going die ... from that me not scared of Kingston' Ossie Thompson.

This album provides an insightful glimpse into life in these unforgiving Kingston neighbourhoods describing not only the poverty and desperation, but also how at times, styles, fashions and the cathartic joys of music, and the dancehall could transform this harsh environment into one of joyous celebration ...

2022 Repress

Mancunian maestro Setaoc Mass returns for his second outing on Soma with the Fortnight EP. Drenched in his typical hard hitting, meticulously produced style, Sam's latest Soma 12" has him at the top of his game with 4 top quality tracks + a special bonus track for the digital EP.

"Time" opens the EP with a particularly hypnotic sound and a definite driving pace as swelling and pulsing background atmospheres give this a quite aggressive backbone. "Bluebells" is yet another dance floor rocking track that hits the ground running right from the start. Razor sharp poly-rhythmic structures keep the track interesting while intense percussive workouts provide the power. Title track "Fortnight" delves deeper whilst still remaining true to Sam's direct and tough sound; don't let this deeper side fool you, all the hallmarks of a proper banger remain intact! "Chaos" closes out things with a more groove laden and emotive tone as shuffling percussive elements funk things up before subtle synths work their way in giving the track a more melodic feel than the previous. Digital Bonus, "Necessary Evil", is a straight up, no nonsense dance floor workout.

Ernest Hood’s Neighborhoods was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privatelypressed opus of 1975.

Sprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, Neighborhoods is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of Neighborhoods eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.

Born into a musical lineage, Hood’s early, promising career as a guitarist in a globetrotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter Jim Smith collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter Louis Bunce. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in Neighborhoods with great abundance among other found sounds.

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

Voller Zorn und brennendem Hass, doch gleichzeitig auch erfüllt vom prallen Leben und mit Momenten erstaunlicher Schönheit - IMHA TARIKATs drittes Album "Hearts Unchained - At War with a Passionless World" deutet seine internen Widersprüche und Konflikte bereits im Titel an. Das Album ist um einen Kern aus typisch deutschem Black Metal entstanden, der ebenso präzise wie trocken und humorlos auf jeglichen Bombast und die oft folkloristischen Untertöne seines nordischen Gegenstücks verzichtet. Dabei stößt IMHA TARIKATs lyrischer und musikalischer Vordenker Kerem Yilmaz alias Ruhsuz Cellât erneut mit seinen einzigartigen Kompositionen auch in tiefere Schichten und unerforschte Dimensionen vor. Während er seinem körperlich schwer fordernden Gesangsstil noch mehr brutal die Kehle zerfetzende Ansätze hinzufügt, bilden ein furioses Drumming sowie das unerbittliche Peitschen von frostig klirrenden Gitarrensaiten das mal eiskalte und dann wieder glühend heiße Fundament von IMHA TARIKAT. Doch während sich Yilmaz' Songs durch die schwarze Leere des Alls winden und drehen, tauchen aus dem Nichts überraschend strahlende Momente und Soli auf, die ihre Ursprünge eher im Heavy Metal, hartem und okkultem Rock und sogar einer Messerspitze Punk haben. Textlich funktionieren IMHA TARIKAT weiterhin als eine Art von verschlüsseltem Tagebuch, in dem Yilmaz seine persönlichen Erfahrungen, sein menschliches Wachstum und seine Faszinationen festhält: "Ich habe mich buchstäblich in den Wahnsinn getrieben, um eine absolut authentische Erfahrung zu erschaffen", beschreibt der Sänger und Gitarrist den Aufnahmeprozess von "Hearts Unchained". Von daher liegt es nahe, dass "Hearts Unchained - At War with a Passionless World" von inneren Konflikten, seelischem Leid, eskalierenden Emotionen, aber auch von Katharsis und Erlösung handelt. Der brutale schwarze Sound von IMHA TARIKAT war von Anfang an auch als eine Art von emotionalem Druckventil für den Bandgründer Kerem Yilmaz konzipiert. Seine brennende musikalische Leidenschaft zeigt sich ebenso in der rasanten Entwicklung, die Yilmaz' Songwriting mit jeder neuen Veröffentlichung offenbart und das in mehrere Richtungen gleichzeitig expandiert. Während bereits die erste EP "Kenoboros" 2017 einen hervorragenden Eindruck hinterließ, eroberte die Band auf dem folgenden Demo "Son Mistisizm" (2018) hörbar neues Terrain. Mit dem 2019er Debütalbum "Kara Ihlas" und ihrer folgenden Black Metal Supernova "Sternenberster" (2020) erreichten IMHA TARIKAT dann neue Höhepunkte. Es passt ins Bild, dass es den Deutschen mit "Hearts Unchained - At War with a Passionless World" gelingt, einen weiteren Gipfel zu erklimmen. IMHA TARIKAT sind drauf und dran, die Welt in schwarze Flammen zu setzen und "Hearts Unchained - At War with a Passionless World" ist der Funke, der alles entzündet. Bevor alle Gefühle zu Asche und Schlacke zerfallen, lasst sie lieber brennen!

Voller Zorn und brennendem Hass, doch gleichzeitig auch erfüllt vom prallen Leben und mit Momenten erstaunlicher Schönheit - IMHA TARIKATs drittes Album "Hearts Unchained - At War with a Passionless World" deutet seine internen Widersprüche und Konflikte bereits im Titel an. Das Album ist um einen Kern aus typisch deutschem Black Metal entstanden, der ebenso präzise wie trocken und humorlos auf jeglichen Bombast und die oft folkloristischen Untertöne seines nordischen Gegenstücks verzichtet. Dabei stößt IMHA TARIKATs lyrischer und musikalischer Vordenker Kerem Yilmaz alias Ruhsuz Cellât erneut mit seinen einzigartigen Kompositionen auch in tiefere Schichten und unerforschte Dimensionen vor. Während er seinem körperlich schwer fordernden Gesangsstil noch mehr brutal die Kehle zerfetzende Ansätze hinzufügt, bilden ein furioses Drumming sowie das unerbittliche Peitschen von frostig klirrenden Gitarrensaiten das mal eiskalte und dann wieder glühend heiße Fundament von IMHA TARIKAT. Doch während sich Yilmaz' Songs durch die schwarze Leere des Alls winden und drehen, tauchen aus dem Nichts überraschend strahlende Momente und Soli auf, die ihre Ursprünge eher im Heavy Metal, hartem und okkultem Rock und sogar einer Messerspitze Punk haben. Textlich funktionieren IMHA TARIKAT weiterhin als eine Art von verschlüsseltem Tagebuch, in dem Yilmaz seine persönlichen Erfahrungen, sein menschliches Wachstum und seine Faszinationen festhält: "Ich habe mich buchstäblich in den Wahnsinn getrieben, um eine absolut authentische Erfahrung zu erschaffen", beschreibt der Sänger und Gitarrist den Aufnahmeprozess von "Hearts Unchained". Von daher liegt es nahe, dass "Hearts Unchained - At War with a Passionless World" von inneren Konflikten, seelischem Leid, eskalierenden Emotionen, aber auch von Katharsis und Erlösung handelt. Der brutale schwarze Sound von IMHA TARIKAT war von Anfang an auch als eine Art von emotionalem Druckventil für den Bandgründer Kerem Yilmaz konzipiert. Seine brennende musikalische Leidenschaft zeigt sich ebenso in der rasanten Entwicklung, die Yilmaz' Songwriting mit jeder neuen Veröffentlichung offenbart und das in mehrere Richtungen gleichzeitig expandiert. Während bereits die erste EP "Kenoboros" 2017 einen hervorragenden Eindruck hinterließ, eroberte die Band auf dem folgenden Demo "Son Mistisizm" (2018) hörbar neues Terrain. Mit dem 2019er Debütalbum "Kara Ihlas" und ihrer folgenden Black Metal Supernova "Sternenberster" (2020) erreichten IMHA TARIKAT dann neue Höhepunkte. Es passt ins Bild, dass es den Deutschen mit "Hearts Unchained - At War with a Passionless World" gelingt, einen weiteren Gipfel zu erklimmen. IMHA TARIKAT sind drauf und dran, die Welt in schwarze Flammen zu setzen und "Hearts Unchained - At War with a Passionless World" ist der Funke, der alles entzündet. Bevor alle Gefühle zu Asche und Schlacke zerfallen, lasst sie lieber brennen!

Silver Vinyl

Zum 20. Jubiläum des Original Spider-Man Films mit Tobey Maguire in der Hauptrolle erscheint der Soundtrack von Danny Elfman erstmals in drei Varianten auf Vinyl: als Black Vinyl, Silver und Gold Edition.

Gold Vinyl

Zum 20. Jubiläum des Original Spider-Man Films mit Tobey Maguire in der Hauptrolle erscheint der Soundtrack von Danny Elfman erstmals in drei Varianten auf Vinyl: als Black Vinyl, Silver und Gold Edition.

The second release on Multitone Recordings is a 4 track project called Take Off EP from German artist, Scale. Taking you from crime scapes to dream scapes, this journey through a mix of jungle and drumfunk will have you wondering whether you're asleep or awake. Mysterious and brooding, Scale's Take Off EP will transport you and keep you drifting effortlessly between subtly nuanced, shadowy moods.

Creative offspring of Tushen Rai and Cornelius Doctor’s musical fantasies, Hard Fist has been a non-profit project encompassing producers, graphic designers, djs and dreamy party worshippers since its inception in 2017.

“We would never have thought that this collective story would bring us this far, that it would take such a place in our lives and that it would bring us so many beautiful encounters. It was only possible to celebrate our 5th anniversary with the unreasonable idea of making something out of the ordinary.

So we thought big, a digger’s dream: a double vinyl in limited edition with 20 artists from 17 countries gathered around exceptional collaborations: producers who have marked the history of the label these last 5 years, friends, but also peers, people who inspired us and gave us the desire to create Hard Fist.

In this Unidentified Noisy Object (U.N.O), you can expect borderless music flirting with Nu-Rave and No Wave, Cosmic Dub and Post-Punk, a slice of Psychedelic Electronica, a lot of Acid and a bit of Slow Goa Trance. As well as some beats of Krautrock played with an Afrobeat groove and a few Darkwave’s synths. But not only that. It’s never only that. But what is it then? Just a label without label, to dance and to explore.

Black Screen Records has once again teamed up with Focus
Entertainment to release the soundtrack to A Plague Tale:
Requiem - the sequel to the award-winning adventure game A
Plague Tale: Innocence - by IFMCA award-winning and BAFTA
nominated composer Olivier Derivière on 180g double vinyl and
CD. After signing the soundtrack for A Plague Tale: Innocence,
Olivier Derivière is back to enrich the intense emotional journey
of A Plague Tale: Requiem with his poignant compositions.
Olivier Derivière is a passionate video games composer and an
international star in the field, who won multiple awards and a
nomination for the 2017 BAFTA. His degree of implication is rare
among video games composers, putting the gameplay at the
center of his considerations and even influencing the
development through his input. The compositions also feature
the cellist Eric-Maria Couturier, and the Estonian Philharmonic
Chamber Choir. Eric-Maria Couturier is a distinguished member
of the Ensemble intercontemporain, a contemporary music
ensemble founded by Pierre Boulez, whom Eric-Maria Couturier
collaborated with among other eminent modern music icons.
The two-time Grammy Award-winning Estonian Philharmonic
Chamber Choir is one of the best-known Estonian ensembles in
the world. With a repertoire that extends from Gregorian chant
to contemporary music, it le

#PF005 ITRIA VOL.3 is a slow techno-inspired cosmic journey that condenses in a single orbit a great cast of artists coming from different galaxies. It marks an evolution in sound and mood, taking us to a deeper and more visceral dimension.
The first track by Interstellar Funk is a 100% pure electronic mind-trip, a machined groove where thoughts still roam frenetically paves the way for a more intimate experience.
Tamburi Neri’s downtempo track shapes a space-time portal in which to sink; their sound is like a beat echoing from the bottom of the chest and spreading to the tips of the fingers softly.
For the first time, Salamanda co-works with Polifonic framing a Korean unknown soundscape, an ambient loop track through which we break away from this dimension and move towards the exotic.
Hiver restore a connection with reality through their pulsating bass. The heartbeat speeds up, but we still float into a dreamy techno atmosphere.
Claudio PRC & ZIPPO come into play with a powerful combination of techno textures that gets us to resurface and awaken the senses.

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

PALE GREEN STARS VINYL

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

Verschwimmende Traumchroniken Ein Martin Rev Album ist stets eine unberechenbare Überraschung. So verwunderte das 2003er Werk "To Live" mit dem erstmaligen Einsatz schroffer Gitarren statt Synthesizer-Kompositionen und auch wenn Rev auf dem Folge-Album "Les Nymphes" aus dem Jahr 2008 zu seinen traumverhangenen Melodie-Miniaturen zurückkehrt, ist die Platte in ihrer Konsequenz noch einmal radikaler. War Martin Revs Oeuvre zumeist von einem durch und durch minimalistischen Ansatz geprägt, machen die Stücke auf "Les Nymphes" im Vergleich einen fast opulenten, überbordenden Eindruck. Bereits nach den ersten Sekunden des Openers "Sophie Eagle" hat man den Eindruck, eine riesige Sound-Welle aus sich überlagernden Echo-Schleifen, Rhythmus-Loops und Phasenverschiebungen, auf der Melodie-Fragmente und Revs sporadisch auftauchende Stimmenfetzen wie Schaumkronen treiben, würde einen davon schwemmen. Auch die in der kontemporären Clubmusik zu verortenden Verweise, die sich erstmals auf dem Vorgänger "To Live" andeuteten, finden hier ihre Fortsetzung. So hört man auf "Triton" und dem Titelstück "Les Nymphes Et La Mer" auch jene, ob ihrer Härte teils befremdlich anmutenden Gitarren-Samples wieder, die das vorige Album dominierten. Alle anderen Tracks auf "Les Nymphes" sind jedoch vor allem von einer unterkühlten, traumartigen Slow Rave und PostIndustiral Atmosphäre geprägt, die in ihrer dreidimensionalen Breitband-Klanglichkeit mitunter an Werke von Coil erinnern. "Die Ähnlichkeiten von "Les Nymphes" mit House und Dance waren natürlich offensichtlich, obwohl ich nicht speziell danach gesucht habe. Es war wahrscheinlich das erste Werk, das ich von Anfang bis Ende am Computer fertiggestellt habe. Viele der Tracks wurden digital aus interaktiven Programmen und nicht mit Outboard-Geräten erstellt. Die Atmosphäre und der Sound wurden durch viel Lektüre in der griechischen Mythologie inspiriert sowie dem Studium der gleichen Geschichten in verschiedenen Sprachen. Wahrscheinlich war mein mehrjähriger Aufenthalt in Montreal ein starker Einfluss, da es eine französischsprachige Umgebung ist und es in allen Buchläden eine große Auswahl an klassischer Literatur in Französisch und anderen Sprachen gibt." so Martin Rev. Speziell jene Inspiration, die sich aus kulturellen Mythologien speist und auf "Les Nymphes" zu einer, sämtliche Realitäten verschwimmenden Traumchronik wird, macht das Album so anziehend. Man fragt sich mitunter, wie ein ätherisches House oder Techno Album unter Revs Regie klingen würde. Einmal mehr beweist auch dieses Werk die Kompromisslosigkeit, mit der Martin Rev arbeitet und seiner Bereitschaft, stets Risiken einzugehen unter der konsequenten Verweigerung sich nur an einer Ästhetik allein abzuarbeiten. "Les Nymphes" ist fraglos das Album eines Künstlers, der immer auf der Suche ist.

Wie ein Schneesturm unter einer Glaskugel Im Herbst 2003 erschien bei dem amerikanischen Indie-Label File 13 Records Martin Revs mittlerweile sechstes Soloalbum. Nachdem Rev bereits 2002 zusammen mit seinem musikalischen Partner Alan Vega und ihrem gemeinsamen Projekt Suicide mit dem Album "American Supreme" neue Wege beschritten hatte, setze sich diese Neuausrichtung auch in seinen Soloarbeiten fort. Klang das 2000er Werk "Strangeworld" noch wie ein aus der Zeit herausgelöstes, abstraktes Komposite aller musikalischen Einflusswelten Martin Revs, scheinen auf dem drei Jahre später veröffentlichten Album "To Live" auch kontemporäre Einflüsse hörbar zu werden. So kommen hier erstmals Gitarren-Samples zum Einsatz. "Der Sound von "To Live" war eigentlich einer, den ich schon seit ein paar Jahren live auf der Bühne benutzte. Die Inspiration kam nicht aus den 2000er Jahren, sondern wahrscheinlich aus einer viel früheren Zeit, obwohl ich nicht genau sagen könnte, woher. Es hängt auch mit der Rhythmus-Technologie zusammen, die ich verwendet habe." erinnert sich Rev. Die Anmutung dieses Sequence-gesteuerten und für die späten 1990er Jahre so typischen Industrial-Rocks scheint - zumindest für ein Rev-Album - ungewohnt und so fielen die Kritiken beim Erscheinen der Platte 2003 zunächst sehr gemischt aus. Wie bereits Anfang der 1970er Jahre als Suicide für ihren neuartigen Sound gleichermaßen gehasst und gefeiert wurden, polarisierte Rev mit seiner Musik auch 30 Jahre später noch immer. Doch auch wenn jene Tracks auf "To Live" weniger von Synthesizer-Drones und minimalistischen Keyboardfiguren geprägt sind als die vorherigen Platten, so sind dennoch alle Stücke des Albums getrieben von jener eigentümliche Formsprache, die Martin Revs Sound so prägnant und unverkennbar macht. Verhallte, sich überlagernden RhythmusSchleifen durchzogen von Revs sporadisch einsetzendem, zärtlich wie bedrohlichem Sprechgesang wachsen zu einem heftigen Schneesturm unter einer Glaskugel an, in dem verchromtes Glitzer und goldenes Konfetti wie wild durcheinander gewirbelt werden. Besonders beeindruckend ist dies auf dem Track "Gutter Rock" gelungen, das wie ein übersteuertes, hypnotisch betörendes Stück Lounge-Exotika anmutet. Und es ist speziell dieser Sound der Gegenpole zwischen harten Drummachine- und Gitarrensalven und dem Ungreifbaren von Revs Stimme, in dem mitunter auch jene Stimmung und Verunsicherung zu Beginn des neuen Jahrtausends zu hören ist, die insbesondere in eine Stadt wie Revs Heimat New York beherrschte, die erst zwei Jahre zuvor von den Ereignissen des 11. Septembers 2001 erschüttert wurde. So ist "To Live" ein widerspruchsvolles und schwer zu verdauendes Werk, das als vor allem als Kind seiner Zeit und Transition innerhalb Martins Revs Gesamtwerk einen ganz besonderen Platz einnimmt.

Mondo, in partnership with WaterTower Music, is proud to present Michael Giacchino's absolutely brilliant score to Matt Reeves’ highly anticipated THE BATMAN. Featuring the music of Academy, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including THE INCREDIBLES, COCO, JOJO RABBIT, RATATOUILLE, STAR TREK, JURASSIC WORLD, ROGUE ONE: A STAR WARS STORY, SPIDER-MAN: HOMECOMING, and WAR FOR THE PLANET OF THE APES. This is the fifth film Reeves and Giacchino have collaborated on.

Giacchino proves himself, once more, as one of the greatest living composers, by introducing a powerful and instantly canonized new theme to one of the most musically iconic superheroes. When director Matt Reeves heard the theme for the first time, he was with film producer Dylan Clark. “I was blown away!” He exclaimed. “It was so emotional. The two of us literally cried…it was amazing.”

Though it's not only the world's greatest detective who emerges with a new theme - Selina Kyle / Catwoman's new string heavy theme is slinky and haunted like that of a classic noir's femme fatale. And Giacchino's take on The Riddler is far more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and dread-inducing motif for one of the scariest takes on a Gotham villain, to date.

With nearly two hours of score, housed on three discs, featuring all new artwork by Henry Abrams.

Composed by Michael Giacchino
Artwork by Henry Abrams
Manufactured in Czech Republic

Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum The Nocturnal Silence. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makabrem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt worden ist. Mit ´Bloodhymns´ veröffentlichen NECROPHOBIC ihr viertes Album, das ursprünglich 2002 veröffentlicht wurde. Die schwedischen Black-Death-Metal-Legenden legen dieses Album als eine von insgesamt neun Wiederveröffentlichungen neu auf. Wie bei den bisherigen Wiederveröffentlichungen der Klassiker von NECROPHOBIC ist auch diese ein Muss für jeden Black & Death Metal-Maniac! Eine gut produzierte schwedische Mischung aus Death Metal mit Black Metal-Zutaten, die zu einem dunklen und kalten Wahnsinn führt. Wie schon die früheren Veröffentlichungen ´Hrimthursum´, ´Death To All´ und ´Satanic Blasphemies´ in diesem Jahr, wurde auch ´Bloodhymns´ von Dan Swanö im Unisound Studio remastered.

Great songs are not set in stone - since he burst from the blues clubs of Louisiana onto the global music scene with 1995's breakthrough first album, Ledbetter Heights, followed by his career defining second album, Trouble Is..

in 1997, Kenny Wayne Shepherd has twisted those classic cuts into bold new
shapes each night on the stage. Led by the pulse of the crowd, every last note
alive in his hands, the Trouble Is... tracks have always been on the move, never
settling into museum pieces.
But to give a quarter-century-old album a second birth is another matter. And in
more recent times, as the five- time- Grammy- nominated, multi- platinum- selling
artist looked up the road and saw the 25th anniversary of Trouble Is... on the
horizon, he hatched an audacious plan."One of the coolest things about rerecording Trouble Is... has been finding out or verifying how timeless this album
really is," says Shepherd, who also is leading a triumphant anniversary tour across
the United States in 2022 and 2023, performing the album in full. "I'm so proud of
what we accomplished, and also the fact I was just 18 years old when I did it. I
mean, I had an experience with this album that most musicians can only dream
about. Trouble Is... sold millions of copies. There's validation in all of that for me."
The Artbook package contains: 2LP on Gold Vinyl, CD, DVD and Blu- ray of the
Trouble Is... 25th Anniversary Show in the Strand Theatre in Shreveport, Louisiana
and a documentary about the making of the album, plus a Dolby Atmos audio Bluray that is exclusive to this release.

Tape



Originally released in 2019, Craig Tattersall unspooled a gorgeous tape of disintegrated piano meditations and dusty lower case ephemera.

On the A-side it’s a dreamily searching, silty flux of piano notes peeling in slow motion. Strings drift over, connoting cold breezes and infrasonic, spectral presences, but the effect is far from menacing, it’s more a tranquil shade of sublime, like those hours after midnight when the meridian sounds of road traffic and human life have ebbed off into the distance and you’re left with the sighing creaks of a room.

The sound is remarkably different on the B-side. Here the air gradually thickens with murkier sub-harmonic distortion, bordering on a seething sense of aggression relative to most of Tattersall’s other output, pushing the grim murk to a logical entropy that precipitates elegiac pauses for reflection and warbling closure.

Hot on the heels of last year’s new era e.p., Marco Repetto returns with the second installment in the planet love trilogy.

Adamha e.p. consists of three tracks, conceived at axodya during the winter of ‘91-‘92, that reveal a more obscure side of the young producer’s mind.

Miraculously, not one of these compositions has seen the light of day before; they were unearthed during a painstaking transfer of Repetto's extensive ‘88-‘04 DAT-archives.

Thirty-one years after instrumentation, return_backspace proudly presents to the world the definitive sound of the future!