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The project was made in collaboration with producer, Rob Schnapff (Kurt Vile, Dr. Dog, Elliot Smith), and although Rowland already has impressive songwriting credits to his name, Come June is truly the beginning of the most important chapter yet in Rowland's artistic evolution.

This final serving is a punishingly dense and saturated wall of twee.

A cursory glance at the tracklist - NO FRIENDS, I JUST CALLED TO SAY I HATE YOU, I SHIT ON YOUR GRAVE, YOU'LL PAY - is fair warning of the brooding resentment and alienation bubbling below the sprightly melodies. And just so we're all on the same page: There is no catharsis. The magic is gone and nothing is going to get better. If 2009's WITH TRUMPETS FLARING was the coronation of Gregory Pepper, NO THANKS is his funeral march.

Gregory Pepper & His Problems have received press and praise in PopMatters, Absolute Punk, Exclaim!, FLOOD Magazine, and Brooklyn Vegan. He is a longtime Fake Four Inc. artist who is deeply embedded in the underground hip hop world and even fronted a duo with super producer Factor Chandelier called Common Grackle which has released two albums on Fake Four Inc. Gregory Pepper has collaborated with Ceschi, AWOL One, MadadaM, Noah23, and Open Mike Eagle.

Daylight Saving Records will release Blowdry Colossus, the new solo album by Field Music"s Peter Brewis. The record is Peter"s first solo venture since 2008"s The Week That Was and follows collaborative albums with Paul Smith (on 2014"s Frozen By Sight) and Sarah Hayes (on 2019"s You Tell Me). The album was recorded over the last year at the Field Music studio in Sunderland, and features contributions from Peter"s brother David, Sarah Hayes and Peter"s son Alexander.

SHADOWSPAWN sind zurück mit ihrer mit Spannung erwarteten vierten Veröffentlichung "Blasphemica - Absolution Carved From Flesh". Das neue Album der Dänen demonstriert das Wachstum und die Entwicklung der Band, während sie ihren charakteristischen schnörkellosen Death-Metal-Sound beibehalten. Blasphemica" geht jedoch noch einen Schritt weiter und verschiebt die Grenzen ihrer Musikalität, indem es Elemente des Grooves, der Dunkelheit und der Brutalität in ein zusammenhängendes Ganzes einbaut. Das Album zeigt die Reife der Band als Songwriter und ihre Fähigkeit, komplizierte, aber dennoch headbangertaugliche Kompositionen zu schaffen.

Mit zehn groovigen Death-Metal-Tracks, die in einer abstrakten lyrischen Welt aus Steampunk und Religionskritik angesiedelt sind, besuchte die Band Tue Madsen in den renommierten Antfarm Studios, um die Drums aufzunehmen und später zu mischen und zu mastern, um den bestmöglichen Sound für ihr neues Werk zu gewährleisten. Dies wird auch das erste Album von Shadowspawn mit ihrem neuen Schlagzeuger Lukas Meier sein, bekannt von The Petulant und Sacrificial.Shadowspawn, die für ihre einzigartige Mischung aus groovigen und intensiven Klanglandschaften bekannt sind, wurden 2013 von erfahrenen Männern aus der frühen dänischen Death-Metal Szene gegründet, darunter bekannte Kräfte von u.a. Sacrificial, The Petulant und Cinerator.

Mit ihrem unverwechselbaren Ansatz für das Genre haben sie sich einen Weg in der extremen Musikszene gebahnt. Nach drei hochgelobten Veröffentlichungen sind Shadowspawn in der dänischen Metalszene und auch im Ausland ein bekannter Act.

Various Color pressing
I spent a lot of time crossing the Detroit/Windsor boarder tunnel. - My family lives half in the US and half in Canada and my father crossed daily for for work and materials. My brother and I would sit on old paint cans in the back of his work truck. long trips to home depot in the hopes that we could get a rally’s banana milkshake before heading home. - I hated that work truck, but we loved the trips, no matter how mundane. We would spend hours crossing that boarder tunnel when it was busy, our bottoms would hurt from the metal paint cans. When i was in high school i would smuggle cigarettes to sell to the Canadian kids, it was a good business. The dark tunnel in disrepair built over 90 years ago felt like a relic of the past, its leaky walls and pale yellow tiles were always crumbling around you. It was claustrophobic and uncomfortable. But the tunnel made your mind wander with thoughts of what was above you, giant cargo ships or sea monsters. It was an anxious place, the uncertainty of its structure or the dreaded boarder patrol on the other side. Would be be pulled in and searched? would the carton of camels i hid under the seat be found? - It was a special place and a special time. These sounds are about traffic and the movement and time in this strange tunnel.

Antoni Maiovvi Has Made a Name for Himself for 15 Years With a Multitude of Releases on Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni or Even Bordello a Parigi. Emeritus Producer, Influenced by Obscure Disco, Synth Disco or Italo Disco, His Sound Is Definitely Analog. His Magnificent Ep Is a Concentrate of All His Influences and More. We Are Very Proud to Welcome Him to Our Sub-Label Dedicated to This Specific Genre, Cosmic Club. a Future Classic Without a Doubt...

Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London).

A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

DRA is happy to announce another Shape Vinyl in their upcoming Shape
Vinyl Series
We're excited to offer this adorable collectors items of NYHC Hardcore Kings
Madball!
Hardcore Lives and Doc Marten Stomp are taken from the album "Hardcore
Lives", an unapologetic, furious and fiercely catchy cluster of tracks from the
kings of NY Hardcore.
Issued Under Licence From Nuclear Blast!!
Shaped picture disc, limited to 500 copies worldwide - one time press!

The Best of Kris Drever includes all the highlights of his acclaimed career to date including those made with Lau and Drever McCusker Woomble Limited Edition of 500 Black LP's. Featuring for the first time on vinyl format "Wintermoon" , hard to find / out of print classics "Ghosts", "Harvest Gypsies" and "The Poorest Company" alongside two brand new songs "Catterline" and "Punchbag". "The Best of" album features many incredible guest performances from over 17 years of recordings including: Boo Hewerdine, Eddi Reader, Kate Rusby, Ian Carr, Yola, Heidi Talbot, Norman Blake (Teenage Fanclub), Roddy Woomble (Idlewild), Louis Abbott (Admiral Fallow), Andy Cutting (Leveret), Euan Burton, Rachel Lightbody, Elysian Quartet, John McCusker, Tim O'Brien, Megan Henderson (Breabach), Eamonn Coyne and Joan As Police Woman. ' Completely infectious' BBC Music ***** ' Immense yet ultra- supple sophistication, musicianship of the first order ...a breath of fresh air' SONGLINES ' Guitarist with that bravely experimental trio Lau, Kris Drever has all the makings of a solo celebrity' THE GUARDIAN ' Sets the standard for others to follow - Kris Drever is a serious talent' MOJO

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

12” black vinyl, standard sleeve, limited to 500 copies, download card included. The long sold-out ‘Random Acts of Total Control’ EP by French outfit Unschooling is now being reissued by London-based label and promoters Bad Vibrations. The five-track EP was originally released in 2021 and deals in an energetic, lo-fi post-punk that revels in calculated discord. Their chaotic ensemble of complex mathy guitar lines, dissatisfied vocals and twitchy rhythm sections have drawn comparisons to such contemporaries as Omni, Crack Cloud and Women, but all wrapped up in a Contortions-esque No Wave spontaneity. Unschooling emerged with their self-released nine-song ‘Defensive Designs’ cassette in 2019 which made a splash in the French indie scene (and is now also being reissued on vinyl for the first time by Bad Vibrations). Its follow-up, the ‘Random Acts of Total Control’ EP, solidified their reputation further afield and established them as one of the most exciting new acts in the current school of post-punk revivalists. The band have since toured heavily around UK and Europe and appeared at Great Escape, Green Man, Wide Awake, Le Printemps De Bourges, Levitation France, Dot to Dot and more. Tracklist: 1) More Is More 2) Boo Boo Dragon 3) Social Chameleon 4) No Shoes 5) NYE

Remastered by Mischa Janisch 2LP

Das österreichische Musikduo Kruder & Dorfmeister, bestehend aus Peter Kruder und Richard Dorfmeister, startete in den 1990er Jahren eine Weltkarriere. Das Duo ist bekannt für seine Downtempo-Remixe von Hip-Hop-, Pop- und Drum-and-Bass-Songs. Ihr erfolgreiches Mix-Album "The K&D Sessions" (1998) wurde in Clubs von Ibiza bis New York rauf und runter gespielt und gilt als Klassiker des Genres. Im Laufe der Zeit wurden die beiden Musiker mit Remix-Arbeiten von Künstlern wie Madonna, Depeche Mode und Roni Size beauftragt. Danach gingen Kruder & Dorfmeister getrennte Wege und waren mit Soloprojekten erfolgreich. Mitten in der Pandemie 2020 veröffentlichten sie ein weiteres gemeinsames Album. Es trägt den Titel "1995" - eine Anspielung auf die Glanzzeit von Kruder & Dorfmeister. Im Oktober 2023 wird nun erstmals eine remasterte "Conversions - A K&D Selection" auf Doppel-Vinyl erscheinen. Ein nahezu historisches Musikdokument eines der erfolgreichsten österreichischen Musikduos

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

AN ABRASIVE POST-PUNK WITH A HINT OF PSYCHE GARAGE, PRODUCED BY SYD KEMP. After a short briefing on the steps of the Saint-Etienne Cathedral of Toulouse, the band chose the name Cathedrale. A simplicity that can also be found in their sound: sharp and abrasive guitars, nervous rhythm and a touch of pop in the vocals. Cathedrale draw their influences mostly from British punk and American power pop, bands such as the Buzzcocks, Wire, Parquet Courts or Protomartyr. To follow up their two previous EPs, recorded locally at Swamp Land Studios, the quartet chose to cross the channel to record their third album in London at Haha Sound Studios. Under the supervision of producer Syd Kemp, their sound gained both in clarity and scale, whithout losing any of the urgency that made their previous recordings so endearing. The 13 tracks of Houses Are Built The Same will undoubtedly confirm Cathedrale as one of the most exciting rock bands in the French indie scene.

As a follow-up to the debut EP; Anaesthesia, Avilynn is back with another dynamic four track EP; Five Million Sunsets, which is accompanied by a remix from Ostgut Ton’s Answer Code Request.

‘Why So Serious’ opens the project and focuses on dynamically evolving and unfurling drums, plucked synths and modulating percussion while expansive reverberations and nuanced echoes further instil dynamism throughout. Answer Code Request steps up next, shifting the focus to an aesthetically industrial feel, twisting elements of the original’s synthesis and high-octane drums into an ominous, subtly unfolding take on things.

Opening the flip-side is title-cut ‘Five Million Sunsets’ which sees Avilynn explore a more textural landscape, dropping the tempo significantly and introducing circling dub chords, earthy sub tones and menacing bass swells throughout. Last up to round out the release is ‘Your Eye Was Bigger Than The Other One’, here Avilynn focuses her musical theme around “a trippy experience where the person has a distorted reality’’, the composition laid out across three and a half minutes melds together choppy broken drums, eerie tones and bubbling synths alongside gritty distorted moments and metallic chimes.

About the label:

Life experiences in macro and micro; daily reveries and introspections; byproducts of clubbing and city life…converted into sonic frequencies.

The focus of the label is on releasing physical products and the use of the cityscape as the primary interface between artist and music listener. Access to Avilynn’s music and multimedia output is made possible through stickers scattered about different cityscapes which feature personal quotes and QR codes. You can find sticker locations via insta’s highlights at instagram.

Classy French deep house label D3 Elements (D3, pronounced day-trois, is French for Detroit, which is a big inspiration on its sound) returns with more of that lush and timeless backroom tackle, this time from Neuronphase.

'Outside' is a dusty jam with atmospheric vocal samples and sustained chords, 'Information Society' has a more playful piano lead and ramshackle drums and 'Shadows' then brings some acid madness. 'Soru' comes as a skipping, percussion-laden original and as a hi-tek soul remix with cosmic leads from Hugo LX rework. Plenty to love here, as always from this label.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Initial LOSER copies pressed on lovely Transparent Sun Yellow vinyl! This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

There are few things in life quite as mesmerising or outrageously euphoric as the nine-strong Umlauts army effervescing in fulsome force. Rebelling against labels, transcending borders of land and time - packed with twin vocalists equally competent in their skewering south-London drawl as they are in German, Italian or French - as in touch with the nostalgias of First-Generation post-punk or 80s pop as they are with the techniks of contemporary pop or big beat dance - the Umlauts are paragons of trans-europe excess, dripping with inarguable edge; shambling wildly from chaotic cool to bombastically exquisite order; invested with unhinging, socio-political bite, dancing in a rave of their own.

"Dahab Days" is the highly anticipated third album from acclaimed British guitarist Rob
Luft, who has witnessed remarkable growth in Europe in recent years, notably as a BBC
New Generation Artist and through collaborations with Elina Duni. Luft's debut album,
"Riser," released in 2017, made a lasting impact, showcasing his exceptional talent and
distinctive musical voice. Building on the success of "Riser," his second album, "Life is the
Dancer," further solidified his reputation as a versatile guitarist and composer.
With "Dahab Days," Luft embarks on another significant stride in his artistic journey. This
album represents a notable expansion of his sound, incorporating a string quartet and
reinforcing the contributions of his talented band members, who have become an integral
part of his musical identity. Luft's well-deserved reputation as a versatile guitarist shines
through as he delivers uplifting improvisations that evolve in hypnotic and contemporary
ways, captivating listeners with their compelling and immersive qualities.
The album derives its name from Dahab, a location in Egypt where much of the music was
written. Over the past three years, Luft has spent considerable time there due to the
Covid-19 pandemic's limitations. While not overtly drawing from the music of the region,
"Dahab Days" subtly reflects the influence of his experiences in that unique setting.

Mit “Twentysomething” gelang Jamie Cullum der internationale Durchbruch. Zum 20-jährigen Jubiläum erscheint das Album jetzt erstmals auf Vinyl!

“Twentysomething” machte den Engländer 2003 noch nicht ganz zum Popstar, aber immerhin zum bestverkaufenden britischen Jazzkünstler in der Geschichte der UK-Charts. Das Album, auf dem der Sänger und Pianist eine peppige Mischung aus Jazzstandards, Pop-Covern und eigenen Songs bot, verkaufte sich weltweit über 2,5 Millionen Mal und brachte Jamie 11 x Platin, 11 x Gold und 2 x Silber ein.

Zum Jubiläum erscheint “Twentysomething” als ”20th Anniversary Edition” auf Doppel-LP mit fünf BonusTracks, darunter die Single Version des Ohrwurms “Everlasting Love”, die Jamie 2004 für den Soundtrack des Blockbusters “Bridget Jones: The Edge of Reason” aufgenommen hatte.

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

The follow-up album to the hugely successful I Do Not Want What I Haven't Got album, Am I Not Your Girl? was released in September 1992 and features Sinead performing a collection of songs that she had grown up listening to and which had inspired her to become a singer. It was during the promotional campaign for the album when Sinead made a controversial appearance on Saturday Night Live.

Am I Not Your Girl? features Sinead's unmistakable voice accompanied by an orchestra, performing big- band arrangements of tracks such as the single 'Success Has Made A Failure Of Our Home' (a Top 20 hit), 'Don't Cry For Me Argentina', and 'Why Don't You Do Right?'.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

First Vinyl Release for 1994 Britpop outfit Salad, fronted by Dutch vocalist and former MTV VJ Marijne Van Der Vugt (vocals and keyboards). Originally released on Island records as a compilation made up of their early singles , b-sides and EP material.

Comes with an exclusive hand-signed insert from Marijne.

Paul Kennedy (Guitar, Vocals), Pete Brown (Bass) and Rob Wakeman (Drums).

Supported Blur back in 1993 where they rose to prominence after a couple of EP releases. This compilation takes the best of their early years material. A must have for fans of Brit-Pop, British Alternative Rock and 90’s Indie.

140g Black Vinyl with exclusive signed print.
Features the tracks ‘Diminished Clothes’, ‘Kent’ and ‘On A Leash’.

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

Die Musik von Arabrot ist zeitlos. Gerade wenn man glaubt, einen Einfluss oder Bezugspunkt ausgemacht zu haben, entzieht sie sich dem Zugriff, dreht und wendet sich in unerwartete Richtungen und formt einen Sound, der wirklich einzigartig ist. In den letzten zwei Jahrzehnten hat sich Arabrot durch mehrere Iterationen gewandelt; sie haben verschiedene Formen und Größen ausprobiert, verschiedene Stimmungen aufgenommen und die Außengrenzen verschiedener Genres erkundet und klangen dabei nie weniger als ganz sie selbst. 2023 erscheint ihr zehntes Album, Of Darkness and Light - ein Grund zum Feiern. Kjetil Nernes war der Kern und die Konstante von Arabrot, und seit einiger Zeit schlägt neben ihm ein weiteres Herz im perfekten Gleichklang. Karin Park, eine Partnerin im Leben, in der Liebe und in der Musik, trägt seit zehn Jahren in unterschiedlichem Maße zu Arabrot bei, und auf Of Darkness and Light ist ihre Präsenz sowohl gefestigt als auch verstärkt. Die beiden leben zusammen in einer Kirche in dem schwedischen Dorf, in dem Karin aufgewachsen ist, und haben sich ihr eigenes Reich geschaffen, in dem sie ihre Kinder, ihr Handwerk und ihre kreativen Visionen pflegen. Of Darkness and Light brauchte einige Zeit, um Gestalt anzunehmen. Der Lebenslauf von Produzent Alain Johannes liest sich wie ein Who's Who der Rockmusik. Er ist selbst ein versierter Musiker (er spielte mit PJ Harvey, Queens of the Stone Age und Them Crooked Vultures und hatte auch seine eigene Band Eleven) und verfügt über langjährige Erfahrung als Produzent. Es war seine Arbeit an Mark Lanegans Album Straight Songs of Sorrow aus dem Jahr 2020, die Kjetil auf ihn aufmerksam machte, bevor Kismet eingriff und die beiden zusammenbrachte. Alain erklärte, dass "mein Bauchgefühl immer richtig ist" und zog im August 2022 ins Djura Missionshus, auch bekannt als die Kirche von A°rabrot, um mit der Arbeit zu beginnen. Das Trio verbrachte mehrere Wochen damit, die Arbeit mit dem Familienleben zu verbinden und die Puzzleteile zusammenzusetzen, aus denen sich Of Darkness and Light zusammensetzt - ihr erstes Album, das komplett in der Kirche aufgenommen wurde. Das Ergebnis ist ein echtes Rockalbum - unter der elektrisierenden Fassade aus flirrenden Synthesizern und raffiniertem Glitzern schlägt ein schweres Rockherz. Die Worte werden dem unbändigen, konkupiszenten Verlangen kaum gerecht, das sich hinter ihrem Schlachtruf We Want Blood verbirgt - einem hymnischen, mit den Füßen stampfenden Vorstoß, der in der Mitte des Albums liegt. An anderer Stelle stehen düstere Mörderballaden neben feierlichen "Fuck Yeah"-Momenten der Freude; ihre reduzierte Herangehensweise an die Instrumentierung schmälert nicht den Reichtum ihres Sounds. Für Freunde von SWANS, KILLING JOKE, WOVENHAND, CHELSEA WOLFE, THE MELVINS, CAPTAIN BEEFHEART, NINE INCH NAILS Ltd Pink Single Colour LP (We Want Blood Edition), Gatefold Cover

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!