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Suff Daddy (578k monthly listeners on Spotify), is one of the legendary beatmakers who shaped a whole era of bedroom producers. His unique approach and musical understanding sets him apart from all the other fish in the pond. He has released countless genre-defining albums and EP’s over the past 15 years building a loyal fanbase. Suff Daddy's songs have previously been featured in many editorial playlists including Spotify's "Jazz Vibes" (2.1M Likes), "BUTTER" (770k Likes), "Sweet Soul Chillout" (1.2M Likes) and many more.

Introducing "Hair Of The Dog," Suff Daddys musical journey that blends instrumental hip-hop, electronic, and dance genres. This captivating album, produced with his own Suff Style invites listeners to unwind From start to finish. Once again a Suff Daddy album thrives on the pure brilliance of his on way to create music. The album's cover art, masterfully crafted by the renowned painter Mitch (@itsallinsideus, 165k Followers), adds an intriguing visual dimension to the experience. Both artists have known each other for a long time and are currently preparing their audiovisual release- event for August 18th in Berlin. Bringing their art together as a unique experience for their audience.

The phrase "Hair of the dog that bit you" commonly denotes consuming alcohol as a remedy for a hangover, aiming to alleviate its effects. Suff Daddy plans to introduce his own hangover solution, which will be plant-based and devoid of alcohol. Through all of his career he frequently played with alcohol references and now its the perfect timing to release his own hangover cure. Additionally, this endeavor will serve as a social media catalyst for the entire project.

This summer, Merge will reissue A Giant Dog's first two full- lengths_2012's Fight and 2013's Bone _worldwide on limited- edition colored vinyl, reintroducing the world to the quintet Spoon's Britt Daniel calls "the greatest American rock and roll /punk band since I don't know when." Recording for the first time with a proper producer (Mike McCarthy) in a proper environment (a studio lol), A Giant Dog Bone, on pink vinyl for the reissue, still manages to kool-aid man its way through the speakers with the immediacy of the band's live shows, a hit parade for the party people. Sabrina Ellis and Andrew Cashen add another baker's dozen tunes to the band's repertoire just a year following their debut, with songs like "All I Wanted," "Dammit Pomegranate," and "Another World" cementing them as a conspicuous songwriting duo.

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.

The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

The vibrant potency reveals itself openly on an analogue set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.

For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale."

Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves," with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" – join in on the conversation with sharp economy and float-on-air roundedness.

Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colours and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed.

"Aloha from Hawaii via Satellite" war ein Konzert von Elvis Presley, das ursprünglich in Honolulu stattfand und 1973 live via Satellit in die ganze Welt übertragen wurde. Das daraus resultierende Live-Album wurde zum Nummer-1-Album für Elvis, und die TV-Übertragung wurde weltweit zum Fernsehereignis des Jahres. Dieses 3CD + 1 Bluray Paket zum 50. Jubiläum enthält: CD 1 - neu abgemischte Version des originalen Fernsehübertragungskonzerts in voller Länge, CD 2 - Probeshow, CD 3 - komplette Bonussongs nach der Show und Bluray - Elvis Aloha from Hawaii Konzert + Probeshow + Bonussongs. Das 2LP-Set enthält die Highlights des Aloha-Boxsets: 2LP, Gatefold

You could say, ahem, that Infiltrate has infiltrated deep into our conscious with its fine run of releases as we are well and truly locked in to the output each and every time. As far as we can tell, both of these artists are new names who are making their first releases here - or they are at least appearing on Juno for the first time. But the music is so impressive we find it hard to believe this is their debut. Cyphon kicks off with the tight, twitchy electro workout that is 'Hegemony' which Gene Harvest mixes into something more full fat and celestial. Konertymi's 'Valtameri' is a rich, colourful world of freeform melodic arps and arching heavenly chords while Astraali Suunnittelu could be a Kraftwerk does modern electro tune.

Formed by AFI members Davey Havok and Jade Puget, Blaqk Audio released their second studio album, Bright Black Heaven, in 2012. It topped the US Billboard Dance/Electronic album charts with its moody synth pop and atmospheric production, blending '80s influences with their electronic goth sound.

"German pioneers of industrial metal, MEGAHERZ, return with their newest full-length studio album, In Teufels Namen, set to be released on August 11, 2023 via Napalm Records! Three decades into their career, MEGAHERZ have undoubtedly become one of the most important bands of Neue Deutsche Härte, which they proved with their critically acclaimed 2018 full-length, Komet - storming charts and peaking at #7 in Germany. With their newest offering, In Teufels Namen, MEGAHERZ raise their voice again and direct their gaze to where it hurts - criticizing conspiracy theories, religion and society as a whole, but also facing inner struggles and pain. MEGAHERZ’s new album begins strongly with the epic title track “In Teufels Namen” (EN: ""In the Devil's Name""), detailing their critique on the church as an institution. On “Der König Der Dummen” (EN: “The King Of The Fools”), one of the heaviest songs on the record, the quintet doesn’t mince words once again, commenting on conspiracy theorists in their tinfoil hats, while ""Alles Arschlöcher"" (EN: “All Assholes”) shows off synth-melodies, electronic influences and strong lyrics - criticizing the worst of society in trademark MEGAHERZ style. The hypnotizing track “Amnesie” (EN: “Amnesia”) is heavily built on electronic-inspired beats and melodies, while chanting anthem of the free spirited, “Freigeist”, features catchy synths and a sing-along chorus. On tracks like “Rabenherz” (EN: “Raven Heart”) and “Engelsgesicht” (EN: ""Angel face""), the band show an emotional facet, while the second is a reminiscent of the band’s all-time hit “Miststück” (EN: “Bitch”). ""Menschenhasser” is a powerful, fast Neue Deutsche Härte track that eases into the breather ""Ich Hasse (Epilog)"" (EN: ""I Hate (Epilogue)""), featuring emotional keys, before the empowering “Auf dem Weg zur Sonne” (EN: “On My Way To The Sun”) showcases their vulnerable side before closing the album. Overall, In Teufels Namen is an energetic ride providing the listener with pure industrial metal at its best! "

"German pioneers of industrial metal, MEGAHERZ, return with their newest full-length studio album, In Teufels Namen, set to be released on August 11, 2023 via Napalm Records! Three decades into their career, MEGAHERZ have undoubtedly become one of the most important bands of Neue Deutsche Härte, which they proved with their critically acclaimed 2018 full-length, Komet - storming charts and peaking at #7 in Germany. With their newest offering, In Teufels Namen, MEGAHERZ raise their voice again and direct their gaze to where it hurts - criticizing conspiracy theories, religion and society as a whole, but also facing inner struggles and pain. MEGAHERZ’s new album begins strongly with the epic title track “In Teufels Namen” (EN: ""In the Devil's Name""), detailing their critique on the church as an institution. On “Der König Der Dummen” (EN: “The King Of The Fools”), one of the heaviest songs on the record, the quintet doesn’t mince words once again, commenting on conspiracy theorists in their tinfoil hats, while ""Alles Arschlöcher"" (EN: “All Assholes”) shows off synth-melodies, electronic influences and strong lyrics - criticizing the worst of society in trademark MEGAHERZ style. The hypnotizing track “Amnesie” (EN: “Amnesia”) is heavily built on electronic-inspired beats and melodies, while chanting anthem of the free spirited, “Freigeist”, features catchy synths and a sing-along chorus. On tracks like “Rabenherz” (EN: “Raven Heart”) and “Engelsgesicht” (EN: ""Angel face""), the band show an emotional facet, while the second is a reminiscent of the band’s all-time hit “Miststück” (EN: “Bitch”). ""Menschenhasser” is a powerful, fast Neue Deutsche Härte track that eases into the breather ""Ich Hasse (Epilog)"" (EN: ""I Hate (Epilogue)""), featuring emotional keys, before the empowering “Auf dem Weg zur Sonne” (EN: “On My Way To The Sun”) showcases their vulnerable side before closing the album. Overall, In Teufels Namen is an energetic ride providing the listener with pure industrial metal at its best! "

Recoil ist das musikalische Projekt des ehemaligen Depeche Mode-Mitglieds Alan Wilder. Mute veröffentlicht die letzten drei Recoil Alben „Liquid“, „Unsound Methods“ und „subHuman“ am 7. Oktober neu, jeweils auf CD und farbiger Doppel-Vinyl. Ursprünglich ein Soloprojekt für Alans experimentelle Arbeit außerhalb von Depeche Mode, wurde Recoil zu seinem wichtigsten Musikprojekt, nachdem er 1995 seinen Ausstieg aus der Band bekannt gab.

Nach einer 6-jährigen Aufnahmepause kehrte Alan Wilder mit dem fünften Studioalbum von Recoil, „subHuman“, zurück. Dieses düstere elektronische Album, das den Hörer vor die Herausforderung stellt, zu analysieren, was uns zu Menschen und zu Untermenschen macht, ist eine Zusammenarbeit mit dem Blueser Joe Richardson, auf den Wilder über eine Google-Suche stieß. Richardson steuerte Gitarre, Mundharmonika und unheimlichen Gesang bei, der sich mit Themen wie Mord, Tod und Religion beschäftigt. Die Sängerin Carla Trevaskis ist mit ihrem ätherischen Gesang auf "Allelujah" zu hören.

„subHuman“ erscheint auf Curacao-farbenem Doppel-Vinyl (inklusive Download-Code) und CD.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

Four full-cast radio episodes based on the hit series, adapted by David Renwick from his TV scripts.
Having been made redundant from his job by an electronic box, crabby Victor Meldrew is faced with the
prospect of finding his feet in an increasingly frustrating world. In these four episodes – Alive and Buried,
Timeless Time, In Luton Airport No-one Can Hear You Scream and The Beast in the Cage – things hilariously
go from bad to worse for Victor and his long-suffering wife, Margaret.
Written by David Renwick, and starring Richard Wilson as Victor and Annette Crosbie as Margaret, these
highly entertaining BBC Radio 2 adaptations also feature a supporting cast including Doreen Mantle, Owen
Brenman, Sally Grace, Jeffrey Holland, Jon Glover and Michael Fenton-Stevens.
Presented in full-colour inner bags, depicting the everyday trappings of Victor’s life, two burgundy 140g
vinyl LPs are housed in an illustrated wide-spine outer sleeve -complete with coffee-spilled rear. You simply
won’t believe it!

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

The concept of strict musical genre has arguably been dead for decades, and the latest offering from Danish powerhouses Gustaf Ljunggren and Emil de Waal once again reinforces this notion. Their third collaborative album "Stockholm Kobenhavn", a spacious, cinematic and boundaryless exploration of their shared musical connection is set to release on July 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. In the words of Danish multi-instrumentalist Kresten Osgood, "Although an instrument may be new to him he is able to play it like he has had a lifetime of experience working with it. Over the years I think the only instrument I haven"t seen him play is the drums." "Stockholm Kobenhavn" has a vast array of influences including Jazz, Americana, Film Music and Electronica. It is full of space, coaxing the listener into a meditative state and inviting them to drift away with their own imagination. The record plays as a series of open-ended sketches or moods, absent of big defining melodies or familiar song-like structures. Each piece evolves over time, providing musical interest in the form of rhythmic ideas, rich harmony, texture, and repetitive melodic patterns from a guitar or rhodes. Imaginative electronic production techniques combine the warm sounds of acoustic instruments with a constantly developing palette of otherworldly textures and effects. Grounded by an unwavering pulse, the combination of programmed beats and acoustic drums provide the hypnotic foundation over which the pair explore and challenge their common musical ground. The album closes with an intimate recording from a performance at STUK in Belgium, with a comforting guitar-led Americana tune bringing the listener back into the room and sharing in the joy the duo have felt in playing together over the past twenty years.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

Das vom Komponisten und Perkussionisten Vincent Montana Jr. gegründete SALSOUL ORCHESTRA war eine Big Band mit einer Besonderheit: Sie spielten Disco.

Das Orchester war von 1974 bis in die frühen 1980er Jahre aktiv und diente als Begleitband für mehrere Sänger von Salsoul Records und nahm eigenes an Material auf, darunter elf LPs mit knallhartem Philly Soul, Latin Percussion und Funk. Mit bis zu 50 Mitgliedern prägte das Orchester den Sound einer ganzen Ära.

Extravagante Streicherarrangements, funkige Gitarren und frecher Gesang, gekrönt von einem unbeugsamen Bläsersatz, sorgten für unvergessliche Hits wie "Tangerine" und "Salsoul Hustle". Die atemberaubenden Interpretationen von legendären Weihnachtsliedern wie "Little Drummer Boy" brachten der Band sogar einen Platz in den Charts ein: Ihr drittes Album, Christmas Jollies, wurde 1976 und 1977 zum meistverkauften Weihnachtsalbum. Obwohl Montana die Gruppe 1982 auflöste, hat ihr Vermächtnis bis in die Gegenwart Bestand: Sie prägten die House- und Dance-Musik und wurden von vielen bekannten Künstler:innen gesampelt.

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Auf ihrer neuen EP „Sugar EP“ verbindet Tash Sultana kunstvoll Klänge ihrer früheren Werke („NOTION“, „Flow State“ und „Terra Firma“) und schafft somit einen ausgereiften musikalischen Ansatz. Tash verwebt diese Elemente gekonnt miteinander und vermittelt Lektionen aus gegenwärtigen Momenten. Mit ihrer einzigartigen Mischung aus musikalischem Talent und Introspektion wird Tash Sultana ihre Fans weiterhin fesseln und inspirieren und mit ihrer neuen EP eine transformative und tief bedeutsame Erfahrung liefern.

Auf "Crimson Messiah" kombinieren IRON FATE ihren bevorzugten US-Metal-Stil mit Hard Rock Elementen, reinem Heavy Metal und thrashigen Melodien. Das neue Line-up bringt zusätzlich verschiedene musikalische Einflüsse mit ein.
Ein neues Level an musikalischem Können und raffiniertem Songwriting resultiert in einem fast einstündigen Ritt durch rasante, epische, melancholische und sogar aggressive Klanglandschaften.
Lasst euch von Crimson Messiah in den Bann ziehen!

GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".

Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.

The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.

Invada Records have previously released two recent Gazelle Twin scores (2020’s Nocturne and 2021’s The Power).

Her 2018 acclaimed album Pastoral was described by Pitchfork as “...belonging to a proud tradition of English satire, plumbing the depths of the nation’s psyche and twisting it to wryly discomforting ends”.

No shortage of colorful characters emerged from Cameroon’s bikutsi scene in the 1980’s and early 90’s. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world.

Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon’s capital Yaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitarbased bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous).

By the early 1990’s, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the band blew up internationally but Zanzibar tragically, and mysteriously, passed away, which nearly brought an end to the band completely. In hindsight, the consensus among most Cameroonians is Zanzibar’s contributions to biktusi were transformational and immeasurable.

“Zanzibar is the one who taught me how to compose a song, and I learned a lot from Zanzibar musically. We spent whole nights working on methods and other approaches to compose beautiful songs. I owe half of everything I have today to Zanzibar!”

Swept up in all this was Gibraltar Drakus, who was the youngest member of Les Têtes Brûlées and was also the protégé of his biggest supporter, Zanzibar. So it was fitting that he dedicate his 1989 debut to their groundbreaking late guitarist who had meant so much to him. Drakus literally exploded from his first album Hommage A Zanzibar (1989), which sold over 100,000 copies despite rampant piracy. For the recording, Drakus made sure he engaged prolific producer Mystic Jim to record and mix the album. The innovation musically rests both within the guitar interplay and the discipline in the orchestration, which result in a mind-bending clockwork of cross-rhythmic harmony.

Much of Radio Red, the first full length album Laura Groves has released under her own name, was written, produced and recorded by Groves in her studio, watched over by two radio transmitting towers. “I became very drawn to them and they became like symbols to me; they were always awake, sending their messages, the red lights always came on at night and watched over whatever was going on in my life.” The album deals with themes of communication - missed and intercepted signals, chance meetings, synchronicities, the channels through which we try to express our true feelings, the outside interference that can get in the way and the joy of letting go and allowing the messages to flow freely.

Self-recording and production is a core part of Laura’s songwriting process. “I remember years ago getting hold of some basic recording software and being instantly drawn in. The idea of being able to layer up my voice was a dream, like building an orchestra out of what I had at home.” The passion for home-recording, using the resources available at the time, working through limitations and capturing textures through layering, forms the foundation of Groves’ experimental and off-centre pop music and electrified folk music. The sound world of Radio Red is made up of echoes, and snapshots of half-remembered pop songs, piano ballads, chopped up TV theme tunes, ambient synthesised sounds and electronic music; tuning in between channels without fully belonging to any one of them, with the comfort, familiarity and strangeness that can come with hearing voices on the radio.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Svart Records presents a very limited vinyl edition of Kivimetsän Druidi's two full length albums. Never before available on vinyl, Shadowheart (2008) and Betrayal, Justice, Revenge (2010) are limited to 400 copies on pitch black vinyl. Newly remastered for vinyl, both come with spectacular 12 inch booklets. Kivimetsän Druidi (The Druid Of The Stone Forest) play metal that is both adventurously original and filled with elements that sound familiar. Part of the Finnish folk metal movement, which also spawned bands like Korpiklaani and Turisas, Kivimetsän Druidi's music stems from a similar origin but is more complex and symphonic. Their two albums to date were released by Century Media and are now being made available on limited vinyl courtesy of Svart Records.

Svart Records presents a very limited vinyl edition of Kivimetsän Druidi's two full length albums. Never before available on vinyl, Shadowheart (2008) and Betrayal, Justice, Revenge (2010) are limited to 400 copies on pitch black vinyl. Newly remastered for vinyl, both come with spectacular 12 inch booklets. Kivimetsän Druidi (The Druid Of The Stone Forest) play metal that is both adventurously original and filled with elements that sound familiar. Part of the Finnish folk metal movement, which also spawned bands like Korpiklaani and Turisas, Kivimetsän Druidi's music stems from a similar origin but is more complex and symphonic. Their two albums to date were released by Century Media and are now being made available on limited vinyl courtesy of Svart Records.

Bold arrangements, excitingly honest lyricism and a riveting voice: Viennese Singer-Songwriter “Lorenz Ambeek” emanates the virtuosity of José Gonzalez and Eliott Smith (MUSIKEXPRESS / FM4). With his first two singles counting over a million streams, paired with chart positions and international airplay, Lorenz’ first album “Look at Me Now” sets sail for a promising musical future: 2023 will thus see the young artist release his 10-track debut-album, alongside several singles and live concerts.

“Look at Me Now” comes with a professional marketing-campaign of visualizer promotion on social media (TikTok & Meta), online marketing and print&online PR for Europe. Previously on chart positions and rotation in Germany (NDR2, EgoFm, FluxFM), Austria (FM4, 88.6) and France (FIP).

DJ Jus-Ed is a real house g. The New Jersey man has been keeping it deep for decades, mostly on his own Underground Quality label and that's what he does once more here. As is often the way, his own vocals infuse the opening track 'That First Touch' which is a happy house cut laced with feel-good pianos.

'The Freshness' hits the sweet spot between classic Chicago depths and dubby new school house with sustained chords and lo-fi drums. 'The Walk & Talk' has elastic bass and tumbling drums with zoned-out vocal musings and 'When I Met You' brings some cosmic synth radiance into Ed's smoky house basement.

"Life Plans and Parallel Side Tracks" by Ismael Zouaoui (aka Ish) is the highly anticipated album on Libertine Records. Spanning Electro, Drum 'n' Bass, Dark-Wave, and Ambient, Ish's versatile production shines. Inspired by diverse influences like Brave New World, Japanese Anime, and early Techno/Trance, the album's contemporary, textured sound captivates.

Japanese producer boys be kko returns to Labyrinth Records for his latest EP 'Pico'. Elegantly dance-centric, Pico and Kanari focus on textured drum work and richly layered melodies, underpinning these elements with club-ready energy and dynamics.

With its tribal beats, Japanese-inspired instrumentation and infectious energy, every element of the track 'Pico' has been crafted for summer festivals & parties through its euphoric blending of different styles - creating something unique and unforgettable.

The title track ‘Pico’ blends organic drum work with effortlessly unique and compelling synths to create a detailed sonic landscape, presenting new discoveries upon every re-listen.

‘Kanari’ adopts a darker edge with growling bass, haunting melodies and pulsating FX. A true heads-down roller likely to transport dancers to new realms.

3 Elements was a trio of UK producers who self-released 'Somewhere Else' in 1996. Their small discography shines amongst peers such as B12, Stasis and Nuron in '90s electronica. One of the members, Andy Jaggers, has continued to release on Touchin' Bass (Andrea Parker), For Those That Knoe (Derek Car, Carl Finlow) and his own label Pyramid Transmissions. Tevatron released 'Nu-Tronik' in 1998 on legendary Belgian label Re-load Records (Acid Kirk, Cold/Isar Logi Arnarsson) and has continued to release on Metrohm. Eternal electronics selected by A Colourful Storm. Edition of 250 with hand-stamped reverse-card sleeve.

Marc Mac back with another high grade Bruk, Electro Boogie monster. This is the fourth and final piece of the series. From Africa to Jamaica, Brazil and now Japan Marc Mac has explored the international fusion and cultures that has been an influence on his style of Broken Beat. The four track EP is under-pinned with Jazz/Funkiness and a hint of Jungle in the subs can be felt on "Kambei". 'Yasuke Soul" and "Tokyo Nightlife" feel like a head nod to Ryuichi and Akiko, so buckle up and get ready for a Journey eastbound. Brilliant cover art is supplied by Mitchy Bwoy.

arigatō