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"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!

On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.

A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.

On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.

Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.

Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!

American trumpeter Blue Mitchell, as his name suggests, had a sound rooted mostly in the blues. He was a Blue Note artists who recorded this album in 1966 and included in it is 'Portrait of Jennie' which was a ballad originally written for the movie Portrait of Jennie in 1948. Guests Jimmy Heath, Tom McIntosh and J. Russell Robinson all feature across the six tunes which mix up modal harmonies with some lyrical moments and groove-driven and subtly funky rhythms. It's a rare one to find on vinyl so do not sleep on this reissue.

The godfather of soul found himself dipping into jazz on this classic but lesser-known album, Soul On Top (Verse By Request Series). Now getting a proper reissue treatment it is sure to convert many new fans to his abilities across the six sizzling tracks from this 1969 album, which includes the classic 'It's a Man's, Man's, Man's World' and a new version of 'Papa's Got A Brand New Bag'. Brown provides the vocals to a 18-piece big band set up that was led by drummer Louis Bellson and arranged by Impulse! star Oliver Nelson. Brown always said he was a jazzman at heart and this goes some way to proving that, with saxophonist Maceo Parker adding plenty of vital swing.

After a first mini-album Dr Bolivard which took the form of a funky and electronic tragi-comic self-psychotherapy, a series of interviews with creators on YouTube (Jacques, Myd, L'impératrice...) where he played a zany psychiatrist character asking existential questions, Bolivard is back with a new mini-album which will be released on January 27th 2023: M. Bolivard.

Composed between 2020 and 2022, he gives his impressions of a turbulent period: pandemic, confinements, American and French elections, global warming, war in Ukraine, worsening mental health... Bolivard keeps his black humour and his taste for nonsense while adding a good dose of satire. On the agenda: social anxiety, radicalisation of opinions, narcissism, psychopathy...

Musically, French pop and funk are always mixed with electronic music. Bolivard sings, raps, slams, speaks, above all to tell stories that are more or less crazy, often funny, sometimes disturbing, definitely creative.

Dark and cerebral Acid Techno doesn't come better than on Hive, and this EP demonstrates why. Chris Liberator & Sam DFL present the fifth instalment of their ACID TECHNO IN THE MODERN ERA series, and it is a 4 track masterclass in twisted 303's and driving beats. Watch out for the 4th track, a stomping old school 303/909 workout that bleeds acid and stomps like a motherf-ker!

"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.

Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).

Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.

Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).

Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.

"Prolonging the Magic", das dritte Studioalbum von CAKE, erscheint zum ersten Mal auf schwarzem 180-Gramm-Vinyl. Die remasterte Audio-Version des 13-Track-Albums enthält "Never There", "Let Me Go" und "Sheep Go To Heaven".

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

By now a regular and esteemed presence among the Discrepant sprawling household via releases with projects such as Alförjs or Jibóia, Mestre André "resurrects" his O Morto alias (bad pun somewhat intended) after 2016 'The Forest, The People And The Spirits'. With a diaristic approach where field recordings function as remnants of his surrounding reality and subsequent memories to be processed and recontextualized into an expressionist whole, O Morto expands that previous Discrepant release sonic palette unto uncharted cartographies. 

Based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, 'Dans La Gorge D'un Monstre' reenacts that hazy and hallucinatory mindframe through five tracks where no vivid recollection persists, tainted by the extrasensory feeling of not being quite there. A sonic fiction that goes from the processed cymbals and pummelling drums of 'The Gorge' with Andrés' mates in Jibóia, through moroccan Gimbri player Ayoub El Ayady and Khalid Boulhaman’s rattling Krakebs on 'Lila' and the slowed down Eccojams vibes of 'Out of the Atlas' to the dreamy aquatic soundscapes and arpeggios of the appropriately titled ‘Princesas Batráquio'. Comprising the whole of the B side, 'A Desert of Rain' is a slow evolving wonder where gong-like tones drift beneath scrambled transmissions of unknown origin, eventually giving way to synapse inducing drone motifs and scraps of realities collapsing among themselves - fire into water, a jetstream into steps, maybe none of this. 

Along with the LP, the release comes with a companion piece tape titled 'Iffrits Habitent', a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who's to know?

Eat Your Heart Out - Caitlin Henry (Gesang), Andrew Anderson (Gitarre), Will Moore (Gitarre), Dom
Cant (Bass) und Jake Cronin (Schlagzeug) - aus Newcastle, Australien, stehen in der Tradition der beeindruckenden australischen Geschichte musikalischer Ausreißer von Nick Cave und Silverchair bis hin zu
The Amity Affliction und Parkway Drive, aber sie tun dies eindeutig auf ihre eigene Art und Weise. Das
Grunge-Pastiche der Gruppe aus Emo-Energie, Punk-Power und Pop-Schmackhaftigkeit sorgte bei ihrem
Erscheinen im Jahr 2012 sofort für Begeisterung auf der ganzen Welt. Sie brachten drei von Fans geliebte
EPs heraus - Distance Between Us 2015, Carried Away 2017 und Mind Games 2017 -, bevor sie 2019
ihr richtiges Debüt in voller Länge, Florescence, veröffentlichten. Zu den vielen herausragenden Songs
gehört ”Carousel”, der 2,6 Millionen Spotify-Streams erreicht hat, Tendenz steigend. Das Hysteria Mag
schwärmte: ”Florescence ist ein Meisterwerk einer Band, die erwachsen wird und sich schnell zu einem der
besten Rockexporte Australiens entwickelt.” Dazwischen waren sie mit Bands wie Trophy Eyes, Hands Like
Houses, Knuckle Puck, Real Friends und anderen auf Tour. Ende 2020 richteten sie ihre Aufmerksamkeit
auf das, was Can’t Stay Forever werden sollte. Jedes Mitglied verbrachte fast das gesamte nächste Jahr
damit, Songs zu schreiben, wobei sie auf prägende Einflüsse wie Jimmy Eat World und Taking Back Sunday
zurückgriffen.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Deep suspension, tribal minimalism, and delicate whispers dominate the textured and meditative spaces of Zemög's universe. The imaginary and exuberant places, the waves that travels above the crystal clear water, the mist and the path to an unknown mountain. The drums resound their acoustic vibration and call our ancestors. Danieli's revisit closes the EP meditatively, a possibility to contemplate, thank, to reflect on our interior and externalize negative energy.









[d] b2 | Derin (Daniel

"Denial” and "Anger" are the first and second movements in Michael Leonhart’s, The Normyn Suite #1: (Soundtrack to the Five Stages of Grieving), which is both a requiem and celebration, inspired by the life and death of Leonhart’s 15-year-old dog, a female mini dachshund named Normyn.

Suite #1 first appeared on the Michael Leonhart Orchestra 2022 album "The Normyn Suites" (Sunnyside Records) and was inspired by “The Kübler-Ross Grief Cycle,” a model introduced by Elisabeth Kubler-Ross in her 1969 book, On Death and Dying. “The Five Stages of Grief” is a critically acclaimed study on how humans handle loss.

For Leonhart's suite in five parts, he expands the MLO’s live performance palette of brass, woodwinds and strings to include choir and found percussion over gritty breakbeat drums from Nick Movshon. Leonhart shares, “I wanted ‘Denial’ and ‘Anger’ to have an emotional tension and raw quality, almost a whiplash effect..."
The Normyn Suites is an elegy; to listen is to spend time in that space of loss, reckoning, questioning, and mourning. At the same time, though, with each note, each phrase, we are propelled back into life,” reflects author Alexandra Horowitz in the stirring liner notes.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor

Gianni Brezzo, the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quickly followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa.” Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” (509k Likes) and “Café / Croissant” (200k Likes), and “lofi beats” (4.8M Likes) and most recently was synced in an episode of Gossip Girl for HBO US. Gianni’s latest excursion, “Soundscapes Vol. 1 – Music for Harlequins” is a special kind of release, one that ventures into worlds familiar, yet undeniably foreign and exciting. Gianni journeys through baroque pastures and medieval acoustics to bring forth an aural palette of colorful, timeless arrangements that fit comfortably in the sonic pocket. Featuring lush and nuanced instrumentation, all seamlessly melded together within Gianni’s groove-driven framework, the tracks on “Harlequins” present thematic moods that act as sonic windows into an enduring past. Jakarta is ecstatic to share such a project, with limited 300 vinyl initially pressed, arriving March 10th, 2023.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

"Under Jolly Roger" ist das dritte Studioalbum der
deutschen Heavy-Metal-Band Running Wild. Es markierte
einen stilistischen Wendepunkt, an dem die Gruppe die
satanische Symbolik, die sie zuvor verwendet hatte, fallen
ließ und das Piratenthema, für das sie bekannt wurde,
übernahm und damit das später so genannte
Pirate-Metal-Subgenre des Heavy Metal in den 2000er
Jahren schuf und beeinflusste. Der Titel des Albums
stammt von der berühmten Jolly Roger, der Flagge, mit
der Piraten ihre Schiffe kennzeichneten. Diese spezielle
graue Vinyl-Version ist eine limitierte Auflage.

Das selbstbetitelte Album von For The Fallen Dreams
kombiniert Elemente aus Hip-Hop, modernem Rock und
progressivem Metal zu der bösartigen Dynamik, für die die
Band bekannt geworden ist, und hat das Zeug zu etwas
Zeitlosem. Das selbstbetitelte Album kombiniert die Vorliebe der Band für strafende Aggression und bombastische
Breakdowns, dramatische Gitarrensoli mit erhabenen
Refrains, ätherische Atmosphäre und unvorhersehbaren,
grausamen Grooves und ist ebenso hitverdächtig und
ansteckend eingängig, wie geradezu vernichtend

An absolute, hard-charging funk hammer from the Dap-Kings - an incredible instrumental co-written and co-produced by Dapper Bosco Mann and Kenny Dope! If "Nervous Like Me" has a title that reflects some kind of apprehension, the track is anything but! It's simply pummeling - with a rhythm that kicks out from some stealth bongo and rolling trap that build into some playful guitar and bass response until the horns crash and boom! The beats on the flip isolate the funky drums, providing a sizzling beat track.

Clear Vinyl, limitiert auf 400 Exemplare. Am 10.03.2023 erscheint mit 'Tagträume an der Schaummaschine l' das vierte Album von Karies. Die pandemiebedingte Livepause schuf Freiraume fur konzeptionelle Weiterentwicklungen: Beschritt das letzte Album ,Alice' (2018) bereits neue stilistische Wege, wurde das Kaleidoskop musikalischen Anspielungen nochmals erweitert; dazu schlossen sich Thomas Zehnle und Paul Schwarz als Produzenten zusammen. Aufgenommen wurde überwiegend in Stuttgart, wo Schwarz als Teil einer Studiogemeinschaft Räume betreibt (Hotel Chelsea Love Connection). Das Mastering erfolgte durch Enyang Urbiks. Das Artwork entstand in Kooperation von Levin Stadler (Levin goes Lightly) und Dan Trautwein, letzterer zeigte sich auch für die Videoproduktion verantwortlich. Karies sind Benjamin Schröter, Max Nosek und Paul Schwarz, nachdem Jan Rumpela (Gitarre) auf unbestimmte Zeit eine Pause eingelegt hat. Paul Schwarz, der 2018 am Schlagzeug für Livegigs aushalf, prägte mehr und mehr durch seine Rolle als Engineer und Produzent das neue Material und trug so maßgeblich zum neuen Album bei. Karies gründeten sich 2012. Nach der ersten EP 2013, kam 2014 das von Max Rieger produzierte Album ,Seid umschlungen, Millionen' via This Charming Man Records, das seitdem als Label fungiert. Es folgten Touren und Supportgigs (Beatsteaks, Tocotronic, Sleaford Mods). 2016 erschien das zweite Album, ,Es geht sich aus' ("Postpunk war selten derart einsam, schön und perfekt zugleich." - Ox). Seit 2016 sind Karies Teil des Rosters der Bookingagentur Powerline-Agency. 2018 veröffentlichen Karies ihr drittes Album, Alice abermals von Max Rieger produziert.

Orange Black Starburst Vinyl

Das Werk verbindet monotone Stringenz mit schwebender Leichtigkeit, vermählt ein juveniles Sturm-und-Drang-Denken mit der Expertise und den Tricks der alten Hasen. Der eröffnende Titeltrack mit seinen treibenden Drums, den flirrenden Post-Punk-Gitarren und dem dräuenden Synthie-Fundament ist noch nicht verklungen, da steht das Urteil schon fest: CLAN OF XYMOX befinden sich auf einem neuerlichen, vielleicht sogar einem bis dato beispiellosen Karrierehoch.

Experience the upbeat, feel good music from village to town, and town to village. A beautiful excursion through a landscape of memories lived and futures imagined with electronic rhythms, soulful vocals and Ndebele chants from the heart of Zimbabwe.
Traditional chiming guitars and gorgeous male harmony voices meet the toughest of drum machine kick drums and juddering synths to create something that is both reminiscent of 1980s ‘Jit’ music and a classic electro sound with heavily compressed 808 drums gut-punching through the speakers

CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion

Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.

BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.

Born somewhere in the Arizona desert, Puscifer is an electro-rock band, multimedia experience, traveling circus, and alien abduction survivors. The group’s catalog consists of three full-length studio albums—“V” is for Vagina 2007, Conditions of My Parole 2011, and Money Shot [2015]—in addition to a series of EPs and remixes. The group will be releasing a special physical version of ssMoney Shot March, 2023.

Beyond the core trio of Maynard James Keenan [vocals], Mat Mitchell [guitar, production], and Carina Round [vocals, songwriting], the group’s ever-evolving ecosystem encompasses Greg Edwards (bass, guitar, keys), Gunnar Olsen (drums), as well as a cast of characters such as Billy D and his wife Hildy Berger, Major Douche, Special Agent Dick Merkin, and many more. Renowned for an immersive live show, the group’s performances blur the lines between concert and theater, traversing the dusty American Southwest with Billy D and Hildy or the sweaty squared circle with Luchadores. They’ve brought this to life everywhere from Coachella to Bonnaroo

German masked pianist, composer and producer of modern classical and electronic music Lambert ventures into contemporary jazz with an electrifying and diverse jazz-electronic album. All This Time ranges from mesmerising classic jazz vibes to high-energy, beat-driven alternative jazz fusing electronics, drums, double bass & piano, referencing the sound worlds of Portico Quartet and GoGo Penguin. Released jointly on Verve Records and MercuryKX.

The friendship between Al Cisneros (Sleep/Om) and Kevin Martin (The Bug/King Midas Sound) begun when King Midas Sound supported OM at the Scala in London in 2012. Subsequently the duo quickly realised via passionately animated conversations, that they shared a serous addiction to reggae 7", and in particular, a mutually insatiable appetite for roots and the deepest dub versions being consistently transmitted from Jamaica...This resulted in Cisneros, then inviting Martin to specifically drop hardcore dub sessions as support to Sleep in Berlin, and on tour with OM. It was during the European Om tour in 2019, that Cisneros offered to record an ep for The Bug's fledgling PRESSURE label. And now 'Rosin' is the fulfilment of that promise. Al's side of the single, showcases the low end specialist extending the bassbin pounding methodologies of those incredible b-line masters who first inspired him to relentlessly explore the infinitely resonant worlds of bass and space. So 'Rosin Immersion' and it's subsequent dub 'Dabby You', echo 'Flabba Holt's classic work with the Roots Radics or Robbie Shakespeare 's tremendous output for Channel One with The Revolutionaries...These devastating mixes extend the hallowed roots tradition that Cisneros worships, and gleefully opts for an even lower, slower, grind .... It's another fantastic example of Al's parallel dub world, that he has been tirelessly promoting with his incredible Sinai label releases for the past few years, as he simultaneously continues to reshape Metal with Sleep and zoned 'out' rock with Om too. On the flipside, Martin took up Al's invitation to remix his original song, but Kevin here opts for radical mutation instead of homage. What may have begun as a single remix, ends as two militantly distinct future dubs aimed straight at the body and dome...Echoing Kevin's recent collaborations with Will Bevan aka Burial, for their collaborative Flame series, as previously released on PRESSURE, this pair of thundering tracks reflect The Bug at his most immersive and psychedelic. 'Fathoms' and '50 hz' revel in their otherness, and the sonic sorcery of his Brussels based sound lab. The twin rhythms are undoubtedly inspired by the spirit of The Bug's production heroes Scientist, King Tubby or Adrian Sherwood, but are set adrift in a futuristic sci-fi format for ambient heads and sound system disciples alike to get fully lost in.

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

Silver Vinyl

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

Das aufstrebende Pagan-Black-Metal-Projekt UNFELLED erhebt sich aus dem Untergrund und veröffentlicht sein Debüt-Album "Pall of Endless Perdition".
Das Projekt, das vom selben Mastermind wie Woods of Desolation entwickelt wurde, dient als bösartiges und gewalttätiges Gegenstück zu seinem eleganten und melodischen Vorgänger und zeigt die beeindruckende musikalische Dualität von Multi-Instrumentalist D..
Musikalisch verweben sich Wut und Triumph mit Aggression und Melodie, die Texte drehen sich vor allem um Blutvergießen, Krieg und Tod - der dreifache Mantel, unter dem ewige Dunkelheit liegt.

Für Fans von Drudkh, Woods of Desolation, Fuath, Gaerea, Misþyrming.

Das aufstrebende Pagan-Black-Metal-Projekt UNFELLED erhebt sich aus dem Untergrund und veröffentlicht sein Debüt-Album "Pall of Endless Perdition".
Das Projekt, das vom selben Mastermind wie Woods of Desolation entwickelt wurde, dient als bösartiges und gewalttätiges Gegenstück zu seinem eleganten und melodischen Vorgänger und zeigt die beeindruckende musikalische Dualität von Multi-Instrumentalist D..
Musikalisch verweben sich Wut und Triumph mit Aggression und Melodie, die Texte drehen sich vor allem um Blutvergießen, Krieg und Tod - der dreifache Mantel, unter dem ewige Dunkelheit liegt.

Für Fans von Drudkh, Woods of Desolation, Fuath, Gaerea, Misþyrming.

Die Kult-Black-Metal-Band NARGAROTH veröffentlicht jetzt 4 ihrer Full-Length-Alben via Season of Mist auf Vinyl!

FFV: Tsjuder, Gorgoroth, Mayhem, Darkthrone, Marduk

Die Kult-Black-Metal-Band NARGAROTH veröffentlicht jetzt 4 ihrer Full-Length-Alben via Season of Mist auf Vinyl!

FFV: Tsjuder, Gorgoroth, Mayhem, Darkthrone, Marduk

Split LP mit sechs Songs jeder Band. Die langjährigen Freunde Angelic Upstarts & Crashed Out haben sich für diese großartige Split-Veröffentlichung zusammengetan – endlich erhältlich. R.I.P Mensi & Feedback.

High Roller Records, reissue 2023 with original cover art, black vinyl, ltd 300, lyric sheet, restored original master, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, new cutting by SST

High Roller Records, reissue 2023 with original cover art, black vinyl, ltd 300, lyric sheet, restored original master, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, new cutting by SST

Pentiments continues its work spotlighting post-conceptual artist and writer Joseph Nechvatal. They have already dropped a retrospective Selected Sound Works album that spans 1981-2002 and now comes a companion across two slabs of wax that focus on more recent audio works. This is in cahoots with Andrew Deutsch and it makes use of anonymous reading of Virginia Woolf's 'Orlando' as an anchor point around which the "virus-modelled artificial life audio material" from Nechvatal's 2006 piece viral symphOny: the enthrOning is reanimated. The second then uses a rather controversial record performance of Antonin Artaud's radio play To Have Done with the Judgement of God which the artist takes apart and reweaves into something radically new.

Book of Roses is yet another brilliant Vollenweider album, yet it's notably
different from the rest of his works to date
There is a wide range of styles and a tremendous range of different instruments
and sound effects used here. In addition to his electroacoustic harp, you hear
orchestral music, vocals, hammer dulcimer, bassoon, flutes, harmonica, horns/
brass instruments, piano, electric and acoustic guitars, accordion, bass, and
many different types of percussion, e.g. hand clapping, chalk/crayon scratching,
and various kinds of drums. In addition you hear many sound effects: pages
turning in a book, footsteps, clocks ticking, dogs barking, birds chirping, bow and
arrow, and many other special effects.Even though this album is perhaps more
"chopped up" into different songs (and four separate "chapters" like in the book) it
flows together nicely as do the rest of his albums and the songs are great to
listen to. There is a diverse range of styles. It starts off with orchestral
movements, then we have the cheery "Morning at Boma Park" and the smooth
crayon- scratching rhythm of the title track, to the optimistic sounding South
African "Passage to Promise" to the fast paced Spanish- guitar/ harp piece
"Jugglers in Obsidian." Track 13 "Hirzel" is probably the most mainstream
Vollenweider track on this CD. It is an upbeat song with a pop-rock feel and brings
back a similar style and intensity of many of the songs from "Dancing With the
Lion." The final track "Letters to a Young Rose" has a somewhat festive African
feel and beat with several different kinds of percussion and is a perfect way to
end the album.Bottom line: It may be different and more diverse from many of his
previous albums, with many different instruments and sound effects in addition
to his harp, but "Book of Roses" is another must-have Vollenweider album.

First time ever on vinyl - limited gatefold edition, 180-gram audiophile
pressing. One of the most highly acclaimed trio albums by New York pianist Bill Charlap,
originally released in 1997 on CD by Criss Cross and now reissued for the very first time on vinyl.

Widely known for his work on the Blue Note and Venus labels, his résumé includes performing with many of the leading artists of our time, ranging from Phil Woods, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person, to singers Tony Bennett and Barbra Streisand. Charlap's album with Tony Bennett,The Silver Lining, The Songs of Jerome Kernwon them both Best Traditional Pop Vocal Album in the 58th Annual Grammy Awards.

Known also for his interpretations of American popular songs, Charlap he has recorded albums featuring the music of Hoagy Carmichael, Leonard Bernstein and George Gershwin.
Jazz critic Scott Yanow gave All Through The Night 4.5 stars on the online jazz platform AllMusic and described it as a superior modern mainstream set.

Bill Charlap: piano
Peter Washington: bass
Kenny Washington: drums

The live recordings included here are among the very best from Billie Holiday's final years
Part of the motivation behind the 1956 Carnegie Hall concert was to promote Billie's autobiography, Lady Sings the Blues.

The music was attuned entirely to Billie's character part, reinforced by readings from her book by Gilbert Millstein. Although recorded in 1956, the LP was only issued in 1961, almost two years after Billie's passing on July 17, 1959, at the age of 44.

Billie Holiday, vocals
Roy Eldridge, trumpet
Coleman Hawkins, tenor sax
Carl Drinkard, piano
Tony Scott, clarinet (piano on Lady Sings the Blues only)
Carson Smith, bass
Chico Hamilton, drums
Gilbert Millstein, readings from the book Lady Sings the Blues Live at Carnegie Hall, New York, November 10, 1956.

"L'assoluto naturale" is a 1969 film based on the eponymous novel by
Goffredo Parise and directed by Mauro Bolognini
Many of his films have been scored by Ennio Morricone. The two leading actors are Sylva Koscina and Laurence Harvey.
The film is a bourgeois sentimental drama which was very popular in that era - lead by the well known theme "Metti, una sera a cena"; it's a soundtrack that blends classical, jazz, pop and lounge music in various reworkings of the main theme, a typical Morriconne trademark..

Among the orchestrations directed by
Bruno Nicolai, the track "Assalito dalle rondini" stands out, an abstract composition for strings characterized by tension-laden dissonances and dramatic orchestrations.
Originally released in 1969 and reissued in a few subsequent editions, the soundtrack of "L'assoluto naturale" has not been on vinyl for 40 years. This new release with remastered audio and a new sleeve layout delivers this excellent soundtrack in a classy layout.

180gr. solid pink vinyl edition.

"Gamma" is a dramatic Italian TV show from 1975, a mini-series that
combines mystery and science fiction, in a story that raises interesting ethical questions of science and medicine
The "Gamma" soundtrack, composed and directed by Enrico Simonetti, is a perfect combination of classical, jazz and pop music, with forays into prog and funk-rock.

The main theme was a 7-inch single released at the time which was No
1 in the charts. The success prompted Cinevox Records to release an LP which includes the two tracks "Gamma" and "Drug's Theme", especially written for the TV show, together with other songs composed by Simonetti. Like many productions of the time, the recording of the "Gamma" soundtrack was a mystery, but it is certain that Goblin took part in the recordings right after the release of
"Profondo Rosso": "Drug's Theme" in particular seems to come straight out of a jam session of Goblin playing from Rome.

Così come sei" is a 1978 film directed by Alberto Lattuada, a sentimental drama starring Marcello Mastroianni and Nastassja Kinski, still very young but already an acclaimed actor
The soundtrack was composed, orchestrated and directed by Ennio Morricone and was infused with romance and ethereal melodies played with wind instruments but set like a symphony. With the contribution of I Cantori Moderni di Alessandro Alessandroni's choir and Oscar Valdambrini's trumpet. Unusually within Morricone's repertoire is the presence of funk-rock and disco songs "Dance
On" and "Space 1999", reflecting the late '70s pop sound.

Originally released in 1978 and subsequently reissued a few times, the
soundtrack of "Così come sei" was not released on vinyl for almost 40 years and is now finally re- released with remastered audio and a new sleeve layout, on 180gr. solid pink vinyl

"Contamination" is a 1980 horror / sci-fi movie directed by Luigi Cozzi,
who has collaborated with Dario Argento for some time, author of many underground movies that have been very popular
Its soundtrack was entrusted to Goblin during a hectic period for the band (Squadra Antigangsters, Amo Non Amo, Patrick, Buio Omega) who had various line- up changes: abandoned by guitarist Massimo Morante and keyboardist Claudio Simonetti, brothers Marangolo (Agostino on drums and Antonio on saxophone), Fabio Pignatelli (bass guitar) and Maurizio Guarini (keyboards) with Roberto Puleo on guitar, wrote one of the best scores of that time showing a wide
range of music styles (Jazz, funk, rock, electronic) and once again showcases Goblin's ability in creating very original film scores. The album has some extra tracks from the "Buio Omega" soundtrack, which was the first full release (fans would have to wait 1997 for a full CD release). Agostino Marangolo: Drums & Percussions Antonio Marangolo: Sax Roberto Puleo: Guitars Maurizio Guarini:
Keyboards Fabio Pignatelli: Bass guitar

There is a perfect match between Dario Argento's film and Goblins' music
in "Profondo Rosso" (Deep Red), both made in 1974 - and then released
the following year - when both artists were living in a period of maximum
creativity: their fortuitous meeting produced two masterpieces, one
cinematographic and one musical, a source of inspiration in the decades
to follow
The music of "Profondo Rosso" was originally commissioned to jazzman Giorgio
Gaslini, a former Dario Argento's collaborator who wrote the songs on side B of
this LP, but was soon entrusted to four young musicians from Rome: Claudio
Simonetti (keyboards), Massimo Morante (guitars) , Fabio Pignatelli (bass guitar),
Walter Martino (drums). The legendary theme and sinister melodies of the title
track set a new standard at the time for film music, not just in the thriller / horror
genre, and thanks to their dazzling debut Goblin enjoy international fame and
respect until today. An essential masterpiece for any lover of soundtracks and
cinema, Italian music, progressive rock, jazz- rock and much more. A piece of
History, reissued in a faithful reproduction of the original 1975 version. 180gr.
clear purple vinyl edition.

JET is very popular among Italian music collectors because from their
ashes came the commercial pop group Matia Bazar, and also among prog collectors because of their rarity.
Jet (or J.E.T. as their name was usually written) were formed in Genova at the beginning of the 70's from a previous band of the same name that also included later members of another pop band, Ricchi e Poveri. Their first album, "Fede speranza carità", released in 1972, derives from a radical turn in their musical style, to popular progressive rock. Its hard rock with falsetto vocals but in a
ProgRock style with heavy use of organ and a solid rhythm section, as in the long "Sinfonia per un re".

In 1974 the band added a female voice (Antonella Ruggiero)
and a new drummer (Giancarlo Golzi from Museo Rosenbach) and changed their name to Matia Bazar and started a long and successful career that still lasts today.

Rereleased in Purple Ltd Edition 180g vinyl.

Maxophone, from Milan, formed in 1973 as a six-piece with an unusual
assortment of instruments, all members previously music students
A band of great talent and musicianship, their only LP, released in 1975, came a
little too late to compete with the other important Progrock Italian bands and
went sadly unnoticed.
"Maxophone", was released on the Produttori Associati label (along with Duello
Madre one of the few rock records released by this label) is a marvellous album,
full of dreamy atmospheres and complex horn arrangements, with vocal parts in
a Genesis style and is now considered one of the best Italian prog records of all
times.

Miles Davis and Milt Jackson only recorded together on a few occasions, but those collaborations always produced superb music. Miles Davis and the Modern Jazz Giantsincludes one such collaborative effort - a unique 1954 quintet session that also features the great Thelonious Monk on piano.

These are the only existing studio recordings presenting Miles and Monk together.

Miles Davis, trumpet
Milt Jackson, vibes
Thelonious Monk, piano
Percy Heath, bass
Kenny Clarke, drums

Original session recorded by Rudy Van Gelder & produced by Bob Weinstock.


[b] A2. The Man I Love [take 2]
[c] A3. The Man I Love [take 1]

[e] B2. Bags Groove [take 2]
[f] B3. Bags Groove [take 1]

Seminal, Grammy-nominated, genre-bending metal band Periphery
returns with their first new music in 4 years
Wildfire, the first single, is rife with snarling riffs, thick groove, and a sing-along,
sweeping chorus. The band will be touring with Underoath in March around the
album release

Die Versuchung ist groß, hoid als Sibylle Kefers "opus magnum" zu bezeichnen. Diese Sammlung von 13 Liedern ist ein eindrucksvolles, stimmiges und zugleich vielfältiges künstlerisches Statement der in Wien lebenden und arbeitenden Musikerin, eine Kulmination ihres ständigen Wachsens als Künstlerin. Die reichen Facetten von Kefers Zugang zu Musik, die Qualitäten und das ganze Spektrum dessen, was sie als Komponistin, Texterin und Instrumentalistin - Singer/Songwriterin oder Liedermacherin dafür als Beschreibung zu ungenau, zu eng - macht und zum Ausdruck bringt, macht diese Lieder aus ...hoid als seit 2020 entstandenes, geschriebenes und aufgenommenes Album ist eine Brücke, eine Klammer, für vermeintlich widersprüchliche Erfahrungen und künstlerische Reaktionen darauf. Unser aller spezieller Lebenssituationen durch die Corona-Pandemie, den unmenschlichen Krieg in der Ukraine und den drohenden ökologischen Kollaps sind sein so verunsicherndes größeres wie dynamisches Setting. Mit dem Sibylle Kefer in ihren Liedern nicht zuletzt Rücksprache hält, Fragen dazu stellt und Widerworte oder Anschlüsse sucht. Das Musikmachen, das Liederschreiben schon für sich ein Stück Normalität und Positionierung zugleich. So sehr Sibylle Kefer sich in diesen Liedern mit Ungleichbehandlung, Ungerechtigkeiten und Grenzüberschreitungen befasst, so sehr klingt dabei immer ihre prinzipiell positive, hoffnungsvolle Grundhaltung durch, baut sie immer bewusst "Hoffnungsanstöße" in ihre Lieder ein: "Damit man weiß, wogegen, woran, womit man arbeitet, es zu tun hat."Die Lieder des Albums hat Kefer dabei zunächst im home-recording aufgenommen und zu produzieren begonnen, sich dabei über das Schreiben der Texte und Musik hinaus ein zusätzliches Skill-Set erarbeitet. Da ein Wesen der Musik, des Musikmachens von Sibylle Kefer immer Zusammenarbeit und Austausch bleiben, fanden sich auch in der Immer-Wieder-Isolation der Pandemie Möglichkeiten, mit vielen befreundeten und geschätzten Musiker_innen zu arbeiten. Nicht zuletzt formierte Sibylle Kefer, selbst bei Ernst Molden & das Frauenorchester nicht wegzudenken, während der Arbeit an hoid ihr eigenes Trio, ihre Band. Mit E-Bassistin Sarah Brait und Schlagzeuger Chris Pruckner wird sie zukünftig (nicht nur) die Songs von hoid auf die Konzert-Bühnen bringen. Ganz zentral für die Fertigstellung des Albums die Arbeit mit Martin Siewert, gemeinsam mit dem Musiker und Komponisten wurden die Lieder schließlich in ihre endgültige Form gebracht, in der sie nun auf hoid zu hören sind und darauf warten ihrem Publikum zu begegnen.

Roman artist Heinrich Dressel delivers a sparkling gaze into the future with the glistening ‘Lambda 2077’. Opening with powerful, guttural drones and sweet sweeps from ‘Nebulosa’, the broad sonic scope of this LP is beautifully demonstrated.

Growling arps and magnetic, synthesised moans are throughout this record. Dressel cultivates a cinematic, cerebral experience throughout each track, delicately weaving a visceral soundscape. The rising, slicing tones of the atmospheric ‘CEM 8220’ provide a compelling journey through meandering arps with a defined structure. ‘Arpeggio Jawa’ swims into action with a watery, colourful arpeggio sailing through each intriguing section.

‘Francisco’ opens things up with an electro-tinged, thunderous remix. Building upon the chordal gravitas of the original, the remix provides the release with an acidic percussive journey. The swirling brilliance of the title track ‘Lambda 2077’ presents itself as stunning, emotive work which prepares you for the decade Heinrich Dressel is heading to next. The machine lead release shows Heinrich Dressel as a consistent unstoppable force behind the synthesiser, culminating in an astonishing, sophisticated record.

Re-issue of Klakson 16! Dutch producer Frank de Groodt, well known for his projects like The Operator and Sonar Base, produces his 4th release under the name Fastgraph. He already made big impact on Adults Esatz Audio label and kicked ass with 2 releases on Klakson. Again he drops 4 deep and dark Drexciya style electro tracks!! The raw deal for what he is best known for.

After his superlative and rather unexpected foray into Afro and Latin fusion with his Sol Set project, John Beltran returns to more familiar territory with a rendition of his classic mid-90s album 'Ten Days of Blue' recorded at this year's Dekmantel in Amsterdam. We get a real feel for the whole gig experience, from the sound of murmured anticipation and intro tape to the resolution at the outro and the main meat of the music itself - lively, optimistic, groovy but understated and chilled at the same time - sits somewhere between his ambient and harder techno work. Among Beltran's very finest output.

Shapes of the Roots is a two piece project by D_Roots. On Part 2 D_Roots shows the deeper side of his production skills with 4 beautiful, driving detroit electro/techno tracks, Bliss!!!

Perhaps slightly better known for his dancefloor-enlivening electro productions, this is actually the third full length ambient album from UK producer Emile Facey under the Plant43 moniker. He's been writing and storing up atmospheric synthesiser experiments alongside his dancefloor oriented output since his last ambient LP The Countless Stones released in 2020, and the eight tracks here are meditative, ethereal affairs, Facey carving out a beautiful set of vivid emotions out of crystal clear pure sounds and arpeggios rolling like gentle waves lapping at a shore. Imagine classic Tangerine Dream combined with the balance and poise of Global Communication and you're getting close.
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Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…

Everybody knows it.

But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!

Book one of our numerous insurance packages today, or just listen to our songs – that helps too!

“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”

Iassen Markov & Jannik Haller

Castelli is the musical moniker of Milan’s Stefano Castelli. His debut album, Anni Venti, combines all the synth history of his native Italy with soulful song writing. Produced by Luca Urbani, the record draws on inspiration from the analogue sounds of pop and wave whilst commenting on our contemporary condition. Rumbling basslines and clean beats are elevated by the glorious chorus lines of the opening “Festa.” The tracks on offer are short and bursting with energy, like the lilting “Cosmonauti” or the addictively upbeat duet of “Wave Goodbye.” A retrospective future dawns in the vocoder and rhythmic pulses of “Cani,” electro echoes of a man machine world. A range of styles are drawn on to create Castelli’s signature sound, his band background merging with synth warmth in “Paradiso Tropicale.” Italy’s famed soundtracks come to the fore in the measured drama of “Quando Guardi I Film.” What permeates the collection is a tender hopefulness, one that culminates in the enthusiasm and electronic exploration of “Nave.” A ten track journey from the heart of Milan.

A banger bringing a first tune legendary : Edith Piafcore :)
Second track is a thick Doom frontier schrantzy hardcore.
Get Han style !
On the flip Ergoth gos total doom and dark like hell... A Cold Rush feeling here !
The last tune, is my fave, deep sour kicker riding a demonic laught...

Ma Spaventi makes a slick return to Slow Motion Records with the captivating ‘Tornerò’.

Descending arps trickle into ‘Tornerò’ from the get-go. Vocoded vocals flutter through the masterful mix, weaving into inviting synth swells. Defined drums are firmly felt across this record.

‘Non Ce L’Hai Solo Tu’ is a Detroit-infused, fierce floor filler. Layering vocoder motifs with crisp synth stabs make for many a euphoric payoff. The intelligent entwining of electro, early Detroit house and Ma Spaventi’s effortless earworms are plentiful. His gift for haunting, strong melodic intonation is prevalent in ‘Costa Brava.’ A grounded, growling bassline rasps throughout the track, reeling you further and further into this whirlpool of brilliance.

‘Tornerò Reprise’ closes this magnificent EP beautifully. Whispering vocal lines are hauntingly blended with synthesiser noise, keeping in line with the swells across the record and resolving the first edition of ‘Tornerò’ with a more acidic conclusion.

The revered Italian producer, mixing and mastering engineer makes his abundant sonic expertise clear in this enticing LP. Encapsulating his talents, ‘Tornerò’ transports you to Ma Spaventi’s unmatched state of flow.

Performed and produced entirely without the use of MIDI and other modern production techniques, MAINE’s IV is a fiercely analogue affair, a throwback to the electronic pioneers of the past. Real synthesizers, real drums, real strings – each instrument played live. Each layer of sound deconstructed and carefully rebuilt to create new sounds, giving way to a wholly unique sonic signature that permeates each track and is undeniably MAINE. Never have 14 individual compositions been more made for each other. With IV, Michel Dupay has crafted a deeply connected and emotive experience full of melancholy and tension; it’s heavy, gothic, and dark, but on occasion manages to let a bit of light seep in, providing the listener with a brief (and much needed) emotional reprieve. It’s this juxtaposition that makes the album so engaging and such a rewarding listen. Prepare yourself – you are going to get lost in this album, and when you finally find your way out, you won’t be the same. This is an effort that demands all of your attention. Best enjoyed from the comfort of your very own sensory deprivation tank. But if you’re having trouble locating it at the moment, a darkened room and a weighted blanket will likely do just fine.

Midnight Mannequin Records is proud to present MAINE’s IV on limited edition transparent Coke bottle green 2xLP 180 gram vinyl. Includes OBI strip and liner notes by Aaron Vehling.

Enormous album again... with a clear banging sound and a variety of explorations, from Techno to Drum & Bass with a bunch of those Hardcore magic tricks. A triple album that will never let you down !

Christine and the Queens return with new album PARANOÏA, ANGELS, TRUE LOVE, released on 9 June via Because Music on 3xLP, 3xCD, single LP and single CD.

The record’s first single, ‘To be honest’ is an ethereal, synth-driven first glimpse into the French phenomenon’s most personal and ambitious album to date. PARANOÏA, ANGELS, TRUE LOVE is written, performed and produced by Christine and the Queens, with co-production by Mike Dean (Lana Del Rey, Beyonce) and guest appearances from 070 Shake and Madonna.

Bright banging hardcore from Australia, Full OZ crazyness !!