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180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Frank Sinatra & Count Basie Sinatra Basie + 2 Bonus Tracks (Orange Vinyl) “Sinatra had long since mastered the microphone, which had become his instrument, capable of a full-on roar or a whisper so intimate it seemed to be spoken inside the listener’s head. Tackling things like “Nice Work If You Can Get It” and “I Won’t Dance” took him back to a kind of repertoire he had mastered
two decades before. The youthful sheen hadn’t quite left the voice and age hadn’t yet darkened it. Basie wasn’t the greatest sight-reader and may not have played on all the tracks, but his band knew the score and Sinatra-Basie remains a collaboration of great strength and naturalness.” Penguin Guide to Jazz “The following decade would see his comeback to stardom, and Sinatra-Basie remains one of the highlights of that period. In this summit meeting, the iconic sonority of Basie’s orchestra is sublimated by Neal Hefti’s arrangements, while Sinatra, impeccable from start to finish, draws from the prodigious energy of the horns, strings and drums of this triumphant big band a simply irresistible elegance.” Jazz Magazine

As one half of Red Axes, Dori Sadovnik could perhaps already stake a claim as one of the most prolific men in electronic music. A natural artist, Sadovnik is the sort of musician who never stops recording, a creator ahead of a consumer, well-adapted to a frenetic lifestyle.

This particular impulse has been funneled into a project known as Kapitan, an already expansive collection of tracks clocking in anywhere between 130 and 150 beats-per-minute.

As for a home, it just so happened that DJ Tennis, friend, collaborator and founder of Life and Death, was processing similar instincts, borne out of his love and association with the nineties heyday of IDM, pioneered by labels such as Warp and Rephlex.

“I don't really know what led me there but I had a feeling that I needed to be in the mountains”, explains Sadnovik. “I'm not a nature guy, nor do I feel particularly spiritual, but I was always struck by the harmony of it all. Everything is in the mix.”

This all-encompassing, blissful philosophy is deeply felt throughout this journey, a fluid blend of analogue and digital sounds rendered as organic as the landscape that inspires the album. Interlocking rhythms evolve into unexpected chamber pieces and bubbling acid lines blossom into rave psychedelia on opening tracks such as ‘Weird Day’ and ‘Flowers’, progressing to the sound of ‘Takak’, which inspires meditations on enormous bass weight, as mantras creep in from the surrounding forest of sound.

In the album’s second-half, this sincere sense of awe expands further still. Centrepiece tracks ‘In The Valley’ inspires a true sense of wonder and transcendence, complex rhythms blending with wide-eyed reverence. ‘Smile’ is trippy and innocent while ‘Elleven’ crackles with whispering energy over whiplash breakbeats. Concluding with ‘Heart’, Sadnovik reduces the pace to a stepping, heavy rhythm, commanding a deep sense of respect for the untamed wilderness that has served as such a unique muse.

To mark the 40th anniversary of Yello this year, a series of highly sought after classics will be re-released on vinyl on July 9th, including the cult albums “Baby“, “Zebra“, “Pocket Universe“, “Motion Picture“ and “The Eye“.nNot just interesting for collectors, but also a chance for Yello fans who would like to own the rare albums “Baby“ (1LP), “Zebra“ (1LP) and “Pocket Universe“ (2LP) on vinyl. As a special surprise, the two albums “Motion Picture“ (2LP) and “The Eye“ (2LP) will appear on vinyl for the first time. All pressed on 180g vinyl, with original artwork and limited to this one-time reissue edition.

Out now for the first time on vinyl! The world first heard Pill on their self-titled cassette release on Dull Tools. And the world took note. Evan Minsker, writing for Pitchfork, says 'they are loose with form, they pack in a lot of ideas, and they successfully deliver an emotionally complex narrative where joy is accompanied by an impossible-to-ignore undercurrent of danger. The band's debut outing is enigmatic—a Dull Tools record through and through—but it's also well crafted, full of stellar performances and unflinching lyrics.'
The band then signed to Mexican Summer, releasing their debut LP. Shortly after, prolific in a way that has become a hall- mark of Dull Tools artists, they release another cassette, 2017's 'Agressive Advertising'. If one thought the self-titled cassette couldn't get more acerbic and confrontational, Agresstive Advertis- ing proved them wrong.
Now both releases are available on one LP. This LP is an important document of New York City's DIY scene and one of the best bands to emerge from it. Pill are an ever present force in NYC's scene. Playing small clubs like Baby's All Right, DIY spaces like Silent Barn and even the Museum of Modern Art. When the art and culture of New York is examined in, much in the way we examine culture from the past, you can bet that Pill will be a shining example of this moment in time.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

Musique Pour La Danse is proud to present SPACED OUT!, a compilation curated by Belgian artist and producer DJ Athome (Front de Cadeaux) which focuses on psychedelic dub, space rock, and early electronica created in the UK's festival scene between 1986 and 1996, the result of a life long passion and 30 years of following artists from the festival scene.

It was a loosely organized British musical movement born in the early 80s and focused on free festivals in Stonehenge and other countercultural sites across the country. It represented a continuation of the psychedelic spirit of the 60s, with altered states of consciousness, dub production techniques, non-Western influences as well as instruments featuring heavily, along with a desire to side-step mainstream venues, labels, and attitudes.

Musically, it took on many forms, from mind-expanding space rock to third eye-opening electronica to shattering psychedelic dub. Visually, the zines, cassettes, LPs, and CDs created by this scene also displayed heavy influences from 60's psychedelia, updated for the late 80s and early 90s.

In the 90s, the zines and cassettes reached the eyes and ears of DJ Athome, then a young DJ living in Liège. After meeting a group of like-minded individuals organizing local gigs which was single-handedly responsible for putting Liège on the map for many British bands, he dived headfirst into the sights and the sounds of this festival scene, gathering as many albums as possible and joining local collectives involved in the organization of events.

This compilation is in equal amounts an introduction for newcomers and a confirmation for those who already know that this was without a doubt one of the trippiest and most compelling psychedelic musical movements of the last decades, notable for its hybridity, its sincerity, and above all its wonderfully life-changing effects for listeners and performers alike.

The compilation is presented in 2LP format, along with a limited edition Riso printed scene which features a foreword by acclaimed philosopher Timothy Morton, along with liner notes by David Borsu, one of the key players of Liège's musical collectives in the 90s and illustrations by designer Andrew Beltran.

Leng Records has long had close ties with the underground music scene in San Francisco, with low-slung dub disco and psychedelic disco outfit 40 Thieves releasing their acclaimed album The Sky Is Yours on the imprint way back in 2014. Now Leng has turned to another stalwart of the Bay Area scene, Cole Odin, on a single that’s every bit as trippy and engrossing as you’d expect from one of San Francisco’s most frequently overlooked talents. Cole made his Leng debut earlier in the year, contributing the electro-influenced track ‘Numbers Game’ to the label’s 10th anniversary compilation. On ‘Little Boxes’, he’s joined by good friend Eddie C, a much-loved disco and house producer from Canada best known for his releases on Endless Flight and Red Motorbike. The pair recorded the track while Eddie was staying with Cole in San Francisco last year.



In keeping with the low-slung, hallucinatory sound that has always been a big feature of the San Franciscan scene, ‘Little Boxes’ is a trippy, mind-altering affair in which waves of sitar sounds, cosmic synths, effects-laden guitars and kaleidoscopic electronics rise above a weighty punk-funk bassline and crunchy, snare-heavy beats. It has serious dancefloor chops but is also atmospheric and immersive: perfect 5am music for Bay Area beach parties and mushrooms-fuelled forest raves.



Fittingly, it’s 40 Thieves who provide the accompanying remix, a 10-minute epic created with the assistance of Adonis and Rodney from the psych rock band ‘Guavatron’ for additional synths and the guitars. Beginning with tabla-style percussion, swirling chords, psychedelic guitar licks and mystical sitar sounds, the remix builds in waves, with looser drums and even weightier bass propelling the track forwards at a metronomic and hypnotic pace. By the time the eyes-closed guitar solos drop two thirds of the way through, you’ll be tripping hard and reaching for the lasers. It’s a genuinely stunning remix of a genuinely intoxicating, mind-mangling track.

Kryptox records was born to show what's happening in the new scene in germany. And David Nesselhauf is the next upcoming artist. Kryptox will release his 6 track EP.?Nesselhauf is a multi-talented artists: bass player, composer, bandleader and man of very original ideas. He was already featured on the Kryptox' Kraut Jazz Futurism compilation vol 1 (2019) and now delivers his first solo EP for the label.

This EP is a follow up in a longer musical evolution that the Hamburg born talent has been making over the past years. A journey that's basically a style he is building that he calls afro-kraut. Before joining Kryptox he already released 2 albums under the Afrokraut title on his own (Bandcamp) before meeting Mathias Modica (head of Kryptox) and they decided to work together.

So on the "Rituals EP“ Nesselhauf salutes his personal pantheon of musical gods once again, leading the listener through his musical Jungle encompassing Krautrock, Downbeat, Drone, Electronica, Afrobeat, Lo-Fi, Shoegaze, Funk and Ambient textures in the blink of an eye.?The 6 new tracks share a common feel, but are colorful individuals at the same time. Some more organic, others with electronic elements.

About Nesselhaufs workflow: Four of these composition are based on quick, playful, raw jams recorded live within hours by a group of Nesselhauf's inner circle musicians. Great grooves played by a heavy rhythm section that he uses also for his live gigs. Just on a few songs Nesselhauf exchanged the human musicians with a legendary Vermona Drum Synthesizer as the main rhythm ingredient.

Guests: One more track was recorded with Julian Gutjahr, Drummer for The Drawbars. Some tracks feature guest appearances by Dennis Rux (he also mixed the EP) and Graeme Currie on guitar. Soulamadou made his way to one of the tracks just by incidentally leaving a very groovy voice message on David ´s phone ("Zeit").

The material was later bewitched into deep, organic swirls: Trippy, psychedelic somnambulistical. The rather mystical, nocturnal reworking process of the recording added even more dimension and depth, leaving the 6 Tracks ready for home listen, but also for an open minded dancefloor and an otherworldly listening experience at the same time.
The next generations of jazz are just waking up. And Davd Nesselhauf and his bunch are one of these new interesting phenomena. Working in the underground since few years, now hopefully there will be more spotlight on these great new innovators.

Etta James: The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 55-year history, remastered in superlative audio. Each collection will be accompanied by exclusive liner notes and previously unseen photography.

‘Etta James: The Montreux Years’ is a treasure trove of timeless classics, powerful and electrifying performances and raw, soaring vocals by one of the greatest ever female vocalists. The collection, featuring recordings from James’ Montreux Jazz Festival concerts in 1977, 1978, 1989 1990 and 1993, encapsulates and reflects Etta’s dynamic artistry and long-lasting impact. Spanning performances from across three decades, ‘Etta James: The Montreux Years’ offers deeply personal and intimate snapshots into James’ acclaimed musical journey, highlights and her phenomenal career.

From one of Etta James’ earliest successes, the infectious and endlessly elegant Something’s Got A Hold On Me, a medley that consist of At Last, Trust In Me and Sunday Kind of Love, which is a fusion of highlights from the early 60s, to the raw and emotional I’d Rather Go Blind and soulful horn-driven Tell Mama. The collection closes with Baby What You Want Me To Do, James’ homage to Jimmy Reed and the encore of her 1979 concert.

In 1975, Montreux Jazz Festival captured a significant moment of musical history – Etta James’ very first concert in Europe, performing at the festival’s 9th edition. The CD edition of ‘Etta James: The Montreux Years’ will include this special landmark concert, held at Montreux Casino on 11 July 1975.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

With a 20-year-experience each in the music production, Digital Cut & Dance Soldiah are joining forces for an ambitious project entitled “Kensei/Sensei Riddim”, supported by Canna France, to be released on June 18, 2021. This double “One Riddim” album brings together 21 international artists of 6 different nationalities on 20 titles. The project is built on an innovative concept as 10 tracks are from female artists and the other 10 from male artists. Equality and parity is the essential value placed at the center of this new project.

Women are represented by the artists Khalia, Denyque, LMK, Sophia Squire, Thaïs Lona & Myriam Sow, Queen Omega, Ikaya, SumeRR, Bad Gyal Jade, Nattali Rize & Minori and men by Pressure, Jah Vinci, Blacko, Million Stylez, Skarra Mucci, Turbulence, Stranjah Miller, Riflah and Charly B.

The complementary sounds of the 2 instrumentals (or "riddims") will delight all Reggae/Dancehall fans and purists. The artwork is signed by the artist KAMO, one the French leader in manga culture, who created 2 original illustrations for the occasion.

The first music video taken from the project was released in February 2021 with the track “No Better Day” by Jamaican rising star Khalia. The track is already airplayed on radios in more than 40 countries around the world and is set to become a real hit in Jamaica. The second single highlights the French female artist LMK with a beautiful video shot in Colombia. The entire album will then be released on June 18, 2021 and more music videos will follow !

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

JANA IRMERT – THE SOFT BIT

"The compositions for this album were shaped over the course of one year, at first without a concept or storyline as a starting point. Yet what I became increasingly interested in was a kind of sensory aspect of sounds. I felt I wanted to get closer so the sounds, feel their structure and surface and how they contrast each other."

stick your hands into the sand and feel the grains against your skin.

"Throughout the musical process, I used materials like metal, water, sand and air in a very direct and maybe more raw way to create and record sounds than I did in previous works, where I had often manipulated field recordings that had a more ambient character and thus strongly carried the location of origin in them.So in a sense, for the compositions of this album, I used sounds without a place, or just an expression of the sound of the particular material itself."

submerge yourself in water and listen to the sounds you hear.

"It turned out the processed sounds resulting from hard materials would often have soft and tonal qualities whereas those made from "soft" materials like water or air would ultimately be of percussive or harsh and noisy character. Finishing the compositions was like feeling along the surfaces of the single pieces with closed eyes, making out their shape and outline inch by inch. Maybe this is why to me, some of the compositions feel solidified like pieces of rock, while others seem to be ready to evaporate into air."

stand as still as you can and feel the air moving against your face.

The stunning new soundtrack to the highly anticipated game, ‘The Last of Us Part II’. ‘The Last of Us’ is one of the most successful video games of all time. It sold over 20 million copies worldwide since it was released in 2013. It’s sequel, ‘The Last of Us Part II’ is one of the most anticipated games of 2020 and has already won awards including a Golden Joystick Award, The Game Award and The Game Critics Award. ‘The Last of Us (Original Soundtrack)’, also scored by Gustavo Santaolalla sold more than 25K copies in the UK. Marketing.

Massive slabs of distortion inhabit every seam of this monstrously linear album” Julian Cope. Japrocksampler

• Long-awaited re-issue on 180g blue coloured vinyl

• Limited, hand numbered editions

A collection of songs / mixtape from Sunun + Jiinx - made up of all their own material, a combination of fully realised songs (some of which you might recognise from earlier outings on BKV, Idle Hands, Euphonic Rhythms etc) as well as unheard demos / ideas and alternate versions. The mix was compiled by Jiinx over a period of nightshifts - sat in his (now cubed) car with the computer running through the stereo. You can hear the dry eyes as the tape moves through sleep deprived jungle to new-age and ambient interludes - with voices (including Sunun's own) moving in and out like real world sounds intruding into a dream (there's also a cameo from Jiinx's daughter). The tape operates in the spaces between waking and sleeping and night and day - and manages to walk the line between euphoric rave afterglow and sleepless sickness and disorientation. Definitely one for the shift workers / ravers / insomniacs. Dedicated to the roofless Beemer.

Mind Maintenance is the new duo consisting of Joshua Abrams (Natural Information Society) and Chad Taylor (Chicago Underground Duo, Chad Taylor Trio). This is where the music begins, but Mind Maintenance can't be described simply as a summation of its parts and players. When you put on the sound, you'll know what we're saying - you'll notice how immediate and meditative it is; how simple, how "in the room," and how the natural buzz of each instrument sits remarkably well against the other. The percussive qualities of the guimbri and the mbira, so raw and unadorned individually, form with their shared resonance a soothing, sonorous whole. It's not about world music, it's not about jazz. It's about mind maintenance. The songs of Mind Maintenance exist in a zone somewhere between composition and improv. Based in melodies that unspool over time, they benefit from Chad and Joshua's intimately enmeshed sensibility and the intensity with which they listen to each other. Chad and Joshua have been playing together forever - or, if you need to think of it more tangibly, since around 1994. Based on our research, the pairing of guimbri and mbira is more than unusual - it appears to be without precedent! This is incredible if it's true, but more important to the music of Mind Maintenance is the shared ground of inspiration that both instruments occupy. Mind Maintenance pursue their inspirations on these instruments down similarly transformative paths. If some part of the 21st century isn't focused on destruction, but instead, locating a place where our traditions can work together in new ways to entertain and even ensure well-being, then that's just one more incentive for all of us to consider Mind Maintenance.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

"Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything." - Plato.

Music is an innate sense that taps into our very core. It exists on a prism, and the range is infinite, for anyone to think they've heard everything would be imprudent. Inspiration strikes in a myriad of waves, acting as a cascading waterfall in which each idea is a droplet converging into one stream. Music doesn't know the rigid constraints of exclusivity. Preferences and ideologies can mould an individual; circumstance and fleeting moments require different melodies throughout the part being played by each being in the cosmos.

As each moment calls for an explicit sound, so too does Axis with it's latest release from the heterogeneous Raffaele Attanasio. The multifaceted Italian has delivered an eclectic sound over the years, from devious techno to melodious rhythmic beats. Attanasio delivers a jazz-tinged, angular, progressive and championing album by coalescing influential factors: a musician father, a multifarious palate in music, and prowess as a multi-instrumentalist.

Nuovo Futuro is creating a new future by travelling to the past. Digging into the Zeitgeist of Naples post-second world war, Attanasio extrapolates the sound to present day, combining modern flair with an enriched sound. The influence of American blues and jazz is felt in his hometown, celebrating the lore of Neapolitan musicians through the track 'Parlesia'. The history comes to life through these compositions, influenced by 70s spaghetti films and rich Italian exuberance. Ardour, lust and avidity ensnare the listener in 'Indagini Sospette'. This album is a journey through the streets where he grew up, but also, encapsulates a wandering mind, meandering into the harmonious Mediterranean under the watchful eye of Mount Vesuvius. 'Equilibrio Dinamico' is a snapshot of the working mind of Attanasio, balancing the impromptu of jazz with a gentle caress of his honed craft. Melodies are soft, smooth, progressive and fulminating the constraints of contemporary music. It emanates a renaissance for a sound that Axis is espousing in their releases.

Death Waltz Recording Co. is thrilled to bring you BenDavid Grabinski's directorial debut Happily on vinyl. Happily is a dark, twisted romantic comedy full of surprises (and one dead body). It's the kind of film you do not want to read reviews on as you should go in with no spoilers and fresh eyes.

Spot varnish gatefold sleeve with liner notes by writer/director BenDavid Grabinski & composer Joseph Trapanese and featuring a download of the entire score, plus nine bonus cuts not on the physical format.

BenDavid Grabinski (Are You Afraid Of The Dark?) pulled in a stellar cast, including Joel McHale, Natalie Morales, Kerry Bishe & Natalie Zea, who are having fun with his script full of intriguing turns and snappy dialogue.

Joseph Trapanese's score (Tron: Legacy, Straight Outta Compton) is a moody, mysterious piece of work, full of space, quiet, contemplative moments but with an unnerving sense of dread below the surface that gives just the right amount of unease whilst listening.

Composed by Joseph Trapenese
Artwork by We Buy Your Kids
Manufactured in the Czech Republic

Heist welcomes rising star of the French House scene Marina Trench to the roster with a stunning release full of classic house cues across 4 warm & deeply grooving house cuts.
With only a handful of releases on DJ Deep’s Deeply Rooted (2019) and Wolf Music (2020), the young Parisian producer is only just getting started. And as far as starts go: This release on Heist will definitely open some eyes & ears across the house scene.
With her elegant and soulful sound both firmly rooted in classic deep house as it is contemporary, Marina showcases a mature sound that’s rarely seen with emerging producers. With a smart choice of samples, beautiful original vocals and smooth pads,
Marina layers her tracks effortlessly into warm compositions that work just as well in your living room as in any sweaty club.
The aptly titled opening track “Sunrise” is a smooth affair with pads oozing in and out and a faintly recognizable and definitely catchy choice of samples. An open electronic bass gives the track a serious tone, but it’s the melancholic chords that make you doze off reminiscing the days of endless festivals in the sun.
“Carry on” is built around classic house stabs with cleverly layered arpeggios and textures giving the track it’s depth. The main attraction here is the trumpet solo by German wunderkind Christian Altehülshorst. As far as chance meetings go, this is a nice one. Christian (who we met through our mutual friend Lorenz Rhode) was our impromptu trumpet player during a show at La Machine back in 2019, where Marina played alongside us. They got talking and before we knew it, we had this track in our inbox. It’s jazzy deephouse at its finest.
On the B-side, we’ve got “Over there”, where Marina layers here own vocals on an infectious house groove and the closing track “Wake up” featuring the emotive vocals of French Algerian artist Sabrina Bellaouel. The latter track evolves around a LFO’d pad and a minimalist groove, giving the vocals all the space to shine in a track that could easily be the one in your set that sets the room on fire.
As far as label debuts go, we could not have hoped for a better one. We’re sure we’ll get to see a lot more of Marina in the near future and hope she serves as a shining example for other emerging producers.
Enjoy the music,
Maarten & Lars

Vinyl Only

Expo 2000? Mousse T? Cyberhouse at Hanomag? The many shades of Hannover. If you haven't heard of Felice, now's the time. The city's most hidden secret guides us towards Fantasy, that is. The Nine-Oh-Nine, the piano, it's all in there. House Music for the Jilted Generation. Made in Linden. For the time being available on beautiful, one-sided vinyl only. Well we through in a little download card just in case. Now close your eyes, move your feet and sing along as if nobody is ever watching.

The Boy With No Name - angelehnt an den kurzzeitigen Spitznamen des Sohnes von Travis’ Frontmann
Fran Healy - wird zum ersten Mal in seiner ursprünglichen Form auf Vinyl wiederveröffentlicht.
2007, zehn Jahre nach der Veröffentlichung ihres Debütalbums hatten sich Travis auf ihrem 5. Studioalbum
der Welt der Beziehungen zugewandt, wobei sich insbesondere ”My Eyes” auf Fran Healy’s neugeborenen
Sohn bezog. Das von Nigel Godrich (Radiohead, Beck, Paul McCartney) und Brian Eno produzierte Album
bezeichnete Fran später als ”our most eclectic album”. Es enthielt den UK Top 10 Hit ”Closer” und schaffte
es in die Top 5 der UK-Charts. Von der BBC wurde es als das Werk einer Band gelobt, die es sich leisten
kann, Risiken einzugehen”.
Das Album erscheint als 2LP mit Gatefold-Hülle, bedruckter Innenhülle und Bonus 7”.

On May 28th , 2021, Surfdog Records will release Brian Setzer - Rockabilly Riot! Volume One - A Tribute To Sun Records on vinyl again! Out of print since 2005, this record sees Brian Setzer paying tribute to one of the greatest rockabilly labels ever, the one that arguably started it all: Sun Records.

"Why should I record a tribute to Sun Records? And at that, narrowing in on only their rockabilly years... a narrow time frame between roughly 1954 through early 1957. For that matter, what the heck is rockabilly anyway? Sure, all of us greaser, guitar slingin' hep-cats know, but (for the most part) the general population has never even heard the word. Rockabilly, the musical bastard of rhythm and blues, hillbilly, country, gospel, and maybe even a little jazz sung by wild-eyed southern white boys with too much time and too little money just lookin' for trouble. After doing much homework, I have selected 23 of what I consider Sun Records' best recordings. Some I’m sure you know (at least I hope so) and some are very obscure gems." - Brian Setzer

When most musicians reach a career milestone they take it on tour. Texas, whose debut album turned 30 last year, had bigger ambitions. Rather than simply perform their old songs, the Scots set out to meet their old selves – the wide-eyed kids who made Southside, their two million-selling, Top 3 debut, and the band who bounced back eight years later with the six times platinum White On Blonde.
The vaults at Universal were raided for recording sessions for both albums, stored on tape and DAT and never digitised. Top of Texas’ list was their first, failed attempt at I Don’t Want A Lover, scuppered by Chic bassist Bernard Edwards.
“Just after we signed, we were in the studio with Bernard and Chic’s drummer Tony Thompson,” recalls guitarist Johnny McElhone. “Bernard got coked up and ended up running away to Mexico before Sharleen even started her vocals. But that’s a whole other story.”
Late in 2018, the aborted version was found, alongside several songs recorded during different sessions which didn’t make their debut. The biggest revelation, however, was a 15-strong batch of tracks from the White On Blonde sessions which both Johnny and Sharleen Spiteri had forgotten existed.
“When we made that album, no one in Britain gave a shit about Texas,” says Sharleen. “We were still doing really well in Europe, but here we couldn’t get arrested.
“No one at our label was asking to hear any music or pushing us, so we just kept writing and recording and trying out new stuff until we felt the record was ready. Hence we ended up with a lot more material than usual.”
So good were the songs that Texas initially planned to release them as a ‘lost’ album, possibly to be called Blonde On White. But working with their old recordings inspired them to start writing new songs.
“Tweaking the old stuff was so much fun,” says Sharleen. “It felt like us, now, collaborating with ourselves of 25 years ago. It was amazing to go back there – my voice was so young! – and to hear how much energy and passion we had. We were fighting for our careers at the time, trying to prove that Texas were still relevant.
“Our excitement at finding this treasure trove of songs collided with our excitement from back then and, unplanned, new songs started coming. You could say we were inspired by ourselves, if that didn’t make us sound insanely big-headed.”
Hi, Texas’ tenth album, is the result of that bonkers journey back but has its eyes firmly fixed on the future. The title track and sensational first single aptly fuses the two. A brand new collaboration with Wu Tang Clan, it finds a soulful Sharleen nestled next to boisterous raps from RZA and Ghostface Killah over a cinematic backdrop of lush beats and acoustic guitar.

Kalita are proud to announce the first ever official re-release of Mpharanyana & The Peddler's 1979 South African disco and funk recordings 'Disco' and 'Freak Out With Botsotso', backed by a devastating extended edit of 'Disco' courtesy of Amsterdam-based DJ and producer Jamie 3:26. Cut on a loud 12" single and accompanied by an extended edit of 'Disco' courtesy of Jamie 3:26, this truly is another no-brainer from the Kalita camp.

Born on 15th November 1949 in Kattlehong, South Africa, Jacob ‘Mpharanyana’ Radebe was one of South Africa’s greatest ever musicians, releasing a canon of legendary soul, jazz and disco albums before his untimely death in August 1979 at the age of just twenty-nine.

Here, Kalita select his highly sought-after disco and funk recordings ‘Disco’ and ‘Freak Out With Botsotso’, both selected from his 1979 invisible final album, ‘Hela Ngwanana’, re-releasing them for the first time in forty years. Including Paul Simon and Herbie Hancock session musician Bakithi Kumalo on bass and Themba Mokena of Dick Khoza ‘Chapita’ fame on lead guitar, the recordings feature some of the country’s top contemporary musicians joining forces to glorious effect.

With the original album currently fetching eye-watering prices on the rare occasion that they turn up for sale, the time is now ripe to share this masterpiece with the world once more.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the NOLA metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs.

Debut solo album by the Red River Dialect songwriter. Recorded at the Hotel2Tango, Montreal, by Howard Bilerman. Featuring Thor Harris (Swans, Thor & Friends, Shearwater) on drums and Thierry Amar (GYBE!, ASMZ) on bass, with guest appearances from Tom Relleen (RIP) (Tomaga, Melos Kalpa), Catrin Vincent (Another Sky) and Coral Rose (The Silver Field, Red River Dialect).
David has written five critically acclaimed collections of songs under the Red River Dialect name. The last two albums (released by Paradise of Bachelors) achieved a glowing Pitchfork review and a Folk Album of the Month award from the Guardian. Selected press below.
“Folk Album of the Month. Alert, anti-colonialist folk. Songwriter David Morris brings alternate seduction and disquiet on this worldly album steeped in the British landscape... a wide-eyed, curious creature, willingly alert to the world.” – 4/5 The Guardian
“Animated with a new intensity, the Cornwall band’s fifth album may be its most ingenious and immersive mix of folk and rock yet. It’s also Morris’ most compelling set of songs. He invests small sensations with outsize power, finding joy in sensory pleasures as well as in the mystical inquests that music allows. Even as the record is steeped in the long history of British folk music, that balance of the tactile and the spiritual anchors these songs in the present moment.” – Pitchfork
“The most underrated folk-rock band in Britain. The idea of them as a Cornish-born, Buddhist-inclined Waterboys is more potent than ever. Their fifth album of elementally-battered, rueful and rousing folk-rock ... is as stirringly anthemic as they've managed thus far.” – MOJO
“A beguilingly atmospheric record… imagine Steve Gunn transplanted to Kernow.” – Clash
“Gorgeous and moving, anchored by the heft of the physical but reaching for more. The epic spareness, the way it manages to be both still and an enveloping swirl, reminds me most of Talk Talk. There’s a prayerful intensity to the quiet bits, a listening, wondering awe, that makes the rock payoffs more powerful. The album works as a restless, searching, gorgeous whole. Morris and his band have never been better.” – Dusted
“It’s not often that a band comes along and over the course of nine songs both plays to the tradition and stands it on its ear. RRD has taken the challenge of playing with reckless abandon to heart, generating an album that stands on the shoulder of giants showing no fear.” Folk Radio

Monastic Love Songs continues the tradition that David has established over the course of five albums with Red River Dialect: using a song cycle to articulate a relationship with inner and outer landscapes, inspired by the Taoist approach of observing the movement of the heavens in order to understand the cosmos within, and vice versa. The joyful closing track Inner Smile was initially written as a poem of thanks to his Tai Chi teacher Hollis and takes its name from a Taoist practice.
The songs were written during the final weeks of a nine-month retreat at Gampo Abbey, a Buddhist monastery in Nova Scotia where David took ordination as Buddhist monk. The album title is sincere, with a little tongue-in-cheek. The songs mostly explore human relationships within the community, with outliers: Gone Beyond shimmers with cosmic devotion, in Rhododendron a reverie grows from the shadow of a flower. Steadfast concerns the love to be found beyond the urge to like and be liked, when you can’t avoid that difficult person. Leonard Cohen, on his six years living in a monastery:
“You know, there’s a Zen saying: ‘Like pebbles in a bag, the monks polish one another.’
David considers this album to be a follow up to 2015’s Tender Gold and Gentle Blue. The cover of that lp featured an image of him on top of Skellig Michael, in the years before the island was made famous as the home of the Jedi. He considers the visit to that abandoned Celtic monastic site to be one of the influences that stirred up his motivation. Skeleton Key speaks of what was given up to go, and what he was giving up to leave, referencing the Tibetan concept of the ‘bardo of becoming’.
The album came about through a series of fortunate encounters. David’s friend Tom Relleen visited him at the Abbey in May 2019, mentioning a postponed plan to visit the Hotel2Tango. A spark was sown: this studio had long figured in David’s imagination. Many of the releases on Constellation Records, which he had become a die-hard fan of in his teens, were recorded there. Tom contributed some Buchla synthesizer to the opener New Safe, which concerns healing in emptiness and light.
In May David was given permission by the senior monastics to acquire a guitar, which was swiftly baptised as “Malibu Barbie”. Having let the identity of being a songwriter loosen up, not playing an instrument in six months, he was unsure what would happen. In the single hour he was permitted to practice each day, songs began to cascade. The first, Purple Gold, concerns a reacquaintance with first love. David wrote to the Hotel2Tango asking if they had any days available in mid-July?
Engineer and studio co-owner Howard Bilerman replied that they did, and a date was set. Did Howard know any local drummers or bass players who might do a session? He did, too many to choose from, what kind of style? David decided to ask for his ideal: did Thierry from Godspeed ever do sessions? Howard sent him the demos. Thierry was up for it. On the day he went deep into the cover of traditional song Rosemary Lane, his double bass singing on this and on Circus Wagon.
David asked if there were any local drummers he would recommend? Thierry said “many, what style?” David tried his luck again, “two of my favourite drummers are Thor Harris and Jim White.” Thierry said let’s invite them. Thor, having met David a decade earlier, flew from Austin to Montreal for that July day in the studio. Nine months of watching thoughts come and go in meditation helped David recognise this as an opportunity to practice enjoying the day without expectations.
He is, however, grateful that this album came out the way it did, channelling some of what it was like to live those nine months in a monastery overlooking the Gulf of St Lawrence, frozen and flowing.

Mixed by Jimmy Robertson at SNAFU, London, mastered by DenisBlackham.

Mica Levi is a musician and composer living in
South East London who uses programming
software, written notation and improvisation to
produce music. They are currently a member of
the groups CURL, Good Sad Happy Bad and
Tirzah and have composed scores for a number of
films including Under The Skin, Jackie, Monos,
Zola and Mangrove (part of the Small Axe series).
‘Blue Alibi’ is the second album Mica has released
under their own name. Vinyl edition released
concurrently alongside first album ‘Ruff Dog’.
‘Blue Alibi’ is available on black vinyl in uncoated
printed inner sleeve in printed reverse board 3mm
spine outer sleeve, with retail sticker and digital
download card.
‘Ruff Dog’ is the first album Mica has released
under their own name. Vinyl edition released
concurrently alongside second album ‘Blue Alibi’.
‘Ruff Dog’ is available on black vinyl in white paper
inner bag in printed reverse board 3mm spine
outer sleeve, with retail sticker and digital
download card

Deep spiritual jazz recorded in Germany, performed by Jamaican born saxophone player Fitz Gore and his international group The Talismen, featuring a.o. bassist Gérard Ebbo from Morocco and drummer Philippe Zobda-Quitman from Martinique. This is the first reissue of their second album, released in 1976 by the small private label GorBra from Bonn, including "Delilah" and "Requiem For Julian Cannonball Adderley". The rare LP comes in a newly mastered version with original cover design and sleeve notes. Fitz Gore's music is full of tremendous tension and movement between deep seriousness, inwardness and humility; it affects your life, it liberates and heals.

Original sleeve notes from 1976:

"Soundmagnificat" is the successor to "Soundnitia" (GorBra Records F 665 532), the first release from the Talismen, an international group with Jamaican Tenor saxophonist Fitz Gore (born1935) as founder, spiritual and musical leader, main soloist. "Soundnitia" contained concert performances of June, 1975, including compositions by John Coltrane, Horace Silver and one by Gérard "Prof. Dr. Splüm" Ebbo, bassist of the Talismen.

This second offering from the Talismen is more varied. It has four tracks recorded at four different occasions. It presents Fitz Gore as a singer, a composer, as well as, a tenor saxophonist. The opener, Requiem for Julian "Cannonball" Adderley, is a moving tribute to a great American artist, the late alto saxophonist "Cannonball" Adderley. On this track, Hungarian drummer Janos Sudy is heard with the Talismen, for the first time. The playing by the quartet on this slow lament very adequately illustrates the mood of the composition

For the next piece, a concert performance, Gore selected a gem from the American Negro Song Tradition and he displays a mighty, masculine and soulful voice in Steal Away. An example of a modern artist using an old traditional to express his own inner feelings. Delilah is taken from another concert performance, the same concert as the music on "Soundnitia". It has extensive playing by Gore, a bass solo by Gérard Ebbo, leading into some exciting conga playing by Lamont Hampton.

The final track, A Sinner Kissed An Angel, was recorded by another tenor player, Wardell Gray, in 1950, but this version is all Gore's. After the piano introduction, Gore delivers the melody with authority and with an expressive use especially of the high register of his instrument. In his improvisation, Gore's playing becomes more dissonant. Some of his playing here causes me to think of the way the late Albert Ayler sounded on his first recordings done in Sweden, in the beginning of the 60s. No drums here, but nice accompaniment and solo work of Jochen Paul on vibes.

I met Fitz Gore in Copenhagen in the fall of 1975. We were both listening to the trumpet playing of Harry "Sweets" Edison at the now defunct Café Montmartre. Prior to that time, I did not know Gore and his music, but listening to his playing on this album and the earlier one, has once more widened my musical horizon. His music has struck some chords within me. "Music is communication", John Coltrane once said. I feel sure that as you listen to the music of Fitz Gore and his Talismen, you will get the message.

In these notes, I have mentioned a couple of jazz artists and another one ought to be named primarily, because he has meant a lot to Gore: Sonny Rollins. The two met in Paris in 1966. Gore says of Rollins: "He openend my eyes ...big man … phenomenon … my man". As Sonny Rollins's artistry, the music of Fitz Gore holds many aspects, some being aggressive and even hysterical, others being those of beauty and peace. As life itself … (Roland Baggenaes, June 1976)

The music of Fitz Gore, rooted in the blues, is full of tremendous tension and movement between deep seriousness, inwardness, humility and humor, hardness and tenderness; it affects your life, it liberates and heals - a hopeful, a truly groundbreaking, a timeless, a new music - Newsic!
(Gisela Braasch, 1976)

In memory of Fitz Gore.
Mastered 2020 by Roskow Kretschmann at Audiomoto,
kindly supported by Tom Sky. Vinyl cut at SST.
Producer for reissue: Ekkehart Fleischhammer,
reproduction of original cover design by Gisela Gore:
Patrick Haase aka rab.bit.

On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes right-fully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience. 2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record.

Lost Themes’cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned. All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

2012 von den Balfour Brüdern in Belfast Nord Irland gegründet, konnte sich MAVERICK schnell in der Szene etablieren. Mit ihrem ersten Album„Quid Pro Quo“ waren sie bereits mit den schwedischen Hardrock Stars THE POODLES auf Tour. Das von Presse und Fans überschwänglich gefeierte zweite Album „Big Red“ brachte sie wieder zurück auf die Bühnen, diese Mal mit den schwedischen Superstars TREAT. Außerdem waren sie Gast auf vielen Festivals wie z.B. das H.E.A.T FESTIVAL (D), ICEROCK und ROCKNACHT TENNWIL (CH), WILDFEST (BE) und dem ROCKINGHAM in England, was ihnen half ihre schon große Fanbase noch weiter zu vergrößern. Ihr nächstes Album »Cold Star Dancer« aus dem Jahr 2018 bekam beste Kritiken in der internationalen Presse und die Band spielte ihre erste Headliner Tour in Europa gefolgt von einer Tour mit den schwedischen Glam Rockern CRASHDIET. Außerdem spielten sie das das schweizer ROCK
THE RING Festival zusammen mit WHITESNAKE, TESLA und DEF LEPPARD. Die Tour wurde wieder mit Gitarrist Ric gespielt, der die Band wegen persönlicher Gründe verlassen hatte. Sein Ersatz Steve Moore kehrte zu seiner Band STORMZONE zurück. Ihr H.E.A.T FESTIVAL Auftritt im Dezember 2019 war die letzte Show für ihren Drummer Jonny Millar. Für ihn konnte mit Jason-Steve Mageney,
einem guten Freund der Band aus Wuppertal, ein mehr als adäquater Ersatz am Schlagzeug gefunden werden. Die Aufnahmen für das Album begannen Ende 2019 aber Covid-19 geschuldet, dauerte alles länger als erwartet. Durch den Lockdown in der UK war es lange Zeit unmöglich Jason für die Schlagzeugaufnahmen einzufliegen. Dies gelang dann endlich im Sommer 2020. Mit »Ethereality« ist der Band ein Album gelungen, welches alle MAVERICK Trademarks enthält. So findet man catchy, Hookline-orientiertes Songwriting von »Big Red« kombiniert mit etwas härteren Einflüssen von »Cold Star Dancer«. Man muss nur die Songs «Switchblade Sister”, «Bells Of Stygian”, «Falling” oder die Fast-Ballade »The Last One« anhören, um zu wissen, dass »Ethereality« ihr bisher bestes Album ist. Denn
so muss Heavy Rock klingen!

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

Juan Wauters’ fifth solo album, Real Life Situations, is a multifaceted ode to sur- rendering control and taking life as it comes. References to radio abound on its 21 tracks, and with good reason - the album spans genres, narrators, languages, and perspectives with the ease of spinning a rotary knob. Mining older songs, phone notes, new material, and snippets from TV and YouTube, Wauters has crafted an aural document of the year through his eyes.

Despite the circumstances of its creation, Real Life Situations is not a quarantine record. In many ways it’s the opposite of one, taking togetherness as both its subject and its primary medium. Pre-lockdown collaborations with Mac DeMar- co, Peter Sagar (AKA Homeshake), Nick Hakim, Cola Boyy, El David Aguilar, and more playfully offset Wauters’ more pensive solo tracks, and even in its sparest moments the album pulses with life. This is due in part to an impressive array of interludes and samples, most of which are field recordings that Wauters collects on his phone, ranging from the innocuous (“A Peter Pan Donuts Conversation”) to the intense (“Crack Dabbling”).

Under his care, these small moments become coordinates for the peaks and valleys of human experience, coloring the album with Wauters’ unique shade of realism. “Some people think I’m an optimist”, he explains, “but I’m not. I’m always seeing all sides of things.”
Of course, Wauters himself never disappears in the boisterous crowd - he lends his chameleonic songwriting to experiments in hip-hop (“Unity”), lo-fi R&B (“Mon- soon”), and deft indie folk (“Lion Dome”). Themes of loneliness, personal growth, patience, and companionship arise again and again; we can feel Wauters navi- gating a rapidly-changing world in real time. Jubilant choruses and spoken word poetry bleed into city noises and overheard conversations. Real freedom, the album suggests, comes not from gaining control, but from accepting its artifice. Like the programming on a radio station, there’s something here for everyone. All you have to do is listen.