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FLASH'S debut album is an unassuming hi-energy primitive punk breath of fresh air. Hailing from all over the Gipuzkoan coast their debut LP is far from being the members first rodeo, with too many bands and activities to bore you with. FLASH comes at you as a fully formed band who know what they want and know how to get it. Sonically FLASH takes equally from their local legends LA PERRERA, fuckwave visionary MOPO MOGO, the pop-edge hardcore of ZERO BOYS, and the weird punk to come out of the Midwest in the last few years to create a truly magic record without a second of filler. With lyrics sung in both Spanish and their basque fishing hometown slang their attitude comes across loud and clear. Monotony, authority, armies of has-beens, and conformist punks get a pounding, while self-doubt, anxiety, and an ode to our dear punk also get a lyric share. All-in-all eleven tracks of radical, critical, wild and humble timeless punk rock which will leave you wanting more with each play. FLASH LP was recorded and mixed by Aritz Aranburu who besides playing guitar and writing some of the lyrics also took care of the album design with mastering by Maxime Smadja. Genre: Alternative / Punk & Hardcore

Track list: 1. Nazkauta Nitxiok 2. Antitodo 3. Sentencia 4. Bihotz Gorrak 5. Ansiedad 6. Incontrolable 7. Saco De Arena 8. Mundua Neria Dek 9. Polizi Zikina 10. Herri Hau 11. Querido Punk

Wonky noir specialist, Kercha, is back with five spun-out cuts, merging dubstep, jazz, garage, techno and a whole lot of weird.

‘Disarray’ is as discombobulating as its title suggests, a slinky beat hidden among umpteen odds and ends from Kercha’s cabinet of curiosities. A subby wiggle here, a far-off siren there, the warm tinkling of a Fender Rhodes, and was that someone falling down the stairs? Our only constant allies are a vaguely disturbing vocal and a bass clarinet that’s definitely up to no good.

‘Witness’ employs a similar palette but switches tactics, stripping back to the basics as faint whispers and the ever-growing presence of a whirring alarm suggest something dangerous might be lurking around the corner.

‘Conjugate’ is more direct, the percussion elevated from its usual backseat as thudding kicks and taught snares make their presence felt among the digi-dub wobbles — a theme repeated on digital bonus track ‘New World’, though there, jagged mid-bass lines provide an extra dollop of screwface-inciting muck.

And bringing this leg of DNO’s journey to a close is ‘Long Way’, which rumbles along like a lonely night train, its chugging bassline matched with eerie engine whistles, the rhythmic clink of a cowbell and, somewhere deep in the mix, the familiar clickety-clack of tracks.

Weaving together disparate worlds like some interdimensional architect, Kercha simultaneously places us among the inebriated haze and freewheeling expression of a basement jazz club, and the 10-tonne rhythms that have fuelled DNO’s parent party The Mine for the past decade, and will continue to do so into the future.

Rhythms of postmodern realism at the very bottom of the DNO.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

Gustav Ejstes has always been on his way to someplace else. The Swedish musician has been making records as Dungen for two decades now, and while he’s lauded as one of the sharpest and most adventurous musicians in psychedelic music since 2004’s breakthrough Ta det lungt, for Ejstes psych has always been only a starting point. Or maybe it’s something more like an ethos—psych with its promise of exploration, the way it prioritizes seeking out new sounds, of leaving the old self behind, of setting into the ether to see what else might be out there. En Är För Mycket och Tusen Aldrig Nog (One is Too Much and a Thousand is Never Enough) is the first Dungen record since 2016’s Häxan and the first proper Dungen studio album since Allas Sak was released in 2015. If we’re thinking of psych-rock as a genre, with its readymade tropes—fuzz guitars, shimmering harmonies, pastoral textures—it’s possibly the least psychedelic record Ejstes has ever made. But if psych is really about transcending what’s come before in favor of new ways of seeing and hearing, then the opposite is true. And that means En Är För Mycket och Tusen Aldrig Nog goes further out than any Dungen record before it. There are classic psych rave-ups, of course, and the kind of brilliant vocal harmonies Ejstes has long made his trademark. There are soft, shuffling grooves that transform into wide-eyed cosmic revelations. There are intimate songs guided by Ejstes and his piano, which he plays so gently it sounds like he’s trying not to wake someone in the next room.

Mit seinem dritten Album als Peel Dream Magazine lockt Joseph Stevens in eine fabelhafte, zickzackförmige Welt, die er selbst entworfen hat. Auf Pad verzichtet er auf die unscharfe vorherige Glorie seiner Indie-Pop-Vergangenheit - hier zittert erst ein Vibraphon, stehen Streicher ebenfalls im Mittelpunkt. Der Vorhang hebt sich für einen opulentem Kammerpop und gibt den Blick frei auf Banjo. Glockenspiel. Farfisa. Und als er im Titeltrack des Albums ein Stöhnen ausstößt, wird klar, dass dies kein gewöhnlicher Auftritt ist. Pad ist ein konzeptionelles Werk über das Sich-Verlieren, wenn man nur noch sich selbst hat, und deutet auf eine aufregende neue Zukunft für Stevens' Pop-Song hin, indem es seine eigene Existenz neu interpretiert. Als Nachfolger des erfolgreichen Agitprop Alterna aus dem Jahr 2020 stellt Pad eine bedeutende soundtechnische Entwicklung für den 34-jährigen Songwriter dar, der im selben Jahr mitten in der Pandemie nach Los Angeles zog. Drumcomputer und Synthesizer aus den siebziger Jahren sind geblieben, aber er hat seine schnarrende Offset-Gitarre gegen eine Nylonsaite ausgetauscht und sich für einen sanften Barock-Pop-Sound entschieden, der von Bossa, Folk und seiner eigenen unheimlichen Mystik durchdrungen ist. Neben Vorbildern aus der Mitte des Jahrhunderts wie Burt Bacharach greift Stevens auf die kultisch geliebten Basteleien der Beach Boys aus den späten 1960er Jahren zurück und bietet eine surreale Melange aus alten Orgeln und gefundener Percussion sowie Harry Nilssons Songteppich The Point!von 1970. Pad klingt zwar wunderschön, hat aber auch eine gewisse Dunkelheit. Stevens spricht unsere generelle Ambivalenz gegenüber der Zukunft von allem, was wir kennen, an, teilweise beeinflusst durch seine Zeit in New York zu Beginn der Pandemie. In "Hiding Out" klagt er: Ich wandere an der Vernon Mall vorbei und hinauf zur Queensboro Bridge. Man gibt mir das Gefühl, zwei Fuß klein zu sein, aber das ist keine Art zu leben. Letzten Endes verfolgt Stevens einen Ansatz, bei dem der erste Gedanke der beste Gedanke ist, und lehnt sich an die fantastischen Elemente seiner eigenen Lebensgeschichte an. Pad ist ebenso archetypisch wie seltsam und verwischt genau die Grenzen, die es zu definieren versucht. Die Kunst ahmt das Leben nach, aber das Leben ahmt auch die Kunst nach - und die Ergebnisse können manchmal unvorhersehbar sein. Für Freunde von Sterolab, Beach Boys ca. Smile, High Llamas, Broadcast, The Lilys

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

New single by Pittsburgh, PA-based band The Commonheart. "They pay soulful tribute to the soul gods without disrespecting their exhumed remains." - No Depression Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock. The band is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic frontman with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. "Hustler" is an anthem for perseverance. Told thru the eyes of a street hustler's mindset; this song offers their interpretation of what it takes to make a living in this world thru the hardest times. The narrative runs parallel for anyone that's finding their way thru life with grit, fearlessness & drive. The new album, produced by Steve Berlin, saxophonist, keyboardist, and record producer, best known as a member of the rock group Los Lobos, entitled 'For Work or Love' will be released on September 16th, 2022.

* = Vinyl only track

Washington DC resident Bartees Leon Cox Jr. aka Bartees
Strange, announces his new album and 4AD debut, ‘Farm To
Table’, which also includes recent single ‘Heavy Heart’. Where
his 2020 debut record, ‘Live Forever’, introduced the
experiences and places that shaped Bartees (Flagey Brussels,
Mustang Oklahoma), ‘Farm To Table’ zeros in on the people -
specifically his family - and those closest to him on his journey
so far.
 With his career firmly on the ascent, ‘Farm To Table’ examines
Bartees’ constantly shapeshifting relationship with life post-‘Live
Forever’. It also speaks to a deeper lore that says, don’t forget
where you came from, and this album is why. Always
remembering where he came from, across 10 songs Bartees is
celebrating the past, moving towards the future, and fully
appreciating the present.
 An unapologetic and braggadocious indie-trap banger, new
single ‘Cosigns’ celebrates Bartees’ peers, collaborators and
friends; name-checking the likes of Bon Iver, Phoebe Bridgers,
Courtney Barnett and Lucy Dacus, through a genre-defying
outpouring somewhere between swaggering hip-hop and
euphoric alt rock. The song ends on a poem he wrote in his
early 20s, “I don’t know how to be full, it’s the hardest to know, I
keep consuming I can’t give it up, It’s never enough.” ‘Cosigns’
is also a moment for Bartees to acknowledge himself, giving
himself credence and unashamedly basking in that glow. Its
accompanying official video was directed by Pooneh Ghana.
 Born in Ipswich, England, to a military father and opera-singer
mother, Bartees had a peripatetic early childhood before
eventually settling in Mustang, Oklahoma. Later, Bartees cut his
teeth playing in hardcore bands in Washington DC and Brooklyn
whilst working in the Barack Obama administration and
(eventually) the environmental movement. Since charting a path
as a solo artist, Bartees Strange has released two records in
quick succession: an EP reimagining songs by The National
(‘Say Goodbye To Pretty Boy’, 2020) and his debut album
proper, ‘Live Forever’.

Nyokabi Kari?ki wrote her upcoming EP, peace places: kenyan memories out next year on SA Recordings, while away from home, Kenya, in the United States, during the pandemic. She found that imagining peaceful, gentle, memories from her 18 years of a childhood in Kenya became an antidote to remedy homesickness and emotional fatigue — and almost naturally, these imaginings evoked a very visceral and creative response within her. From Nyokabi’s childhood home in Nairobi, where her piano, gifted to her at age 8, still sits; to her father’s hometown of K?r?nyaga (‘Ngurumo, or Feeding Goats Mangoes’) and her grandmother’s farm in Kiambu (A Walk Through My C?c?’s Farm); from holidays by the Kenyan coast (‘Galu’ and ‘Naila’s Peace Place’) to a few in Laikipia (‘Equator song’); these places find themselves crystallised in each track of the EP, most apparent through the inclusion of field recordings taken in each respective place; but also in the music and lyricism of the pieces. As she worked on this record, she realised that her mind was not only taking solace in imagining ‘home’ as physical spaces, but also in seeing that ‘home’ was in ancestry, in language and words, in family and friends, in the palpability of her instruments, in harmony but also dissonance, and of course, in music. My album artwork was painted by a dear childhood friend, Naila Aroni, and so I decided to give back in a similar way: by creating a track around her own ‘peace place’. She chose Lamu on the Kenyan coast, a place I’d never been, so I used the video to guide me. In it, she walks along the beach with her best friend, having a conversation that — in the track, we first hear as a unrecognisable ‘yells’, which are actually timestretches of the conversation; framed alongside hyperreal flurries on the vibraphone (played by Chris O’Leary). Then, in the final moments of the song, the conversation is revealed: “Naila, how happy are you?” her best friend asks. “It doesn’t even feel real, It’s surreal,” Naila responds. When I’d heard the audio, the emotion of pure joy & euphoria seemed distilled into the sounds of their voices. And so Naila’s Peace Place is an effort to freeze that moment in time, so we can marinate in the sound of that joy for just a little longer. - Nyokabi on Naila’s Peace Place.

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Please note early release date! Vinyl colour is green with black splatter. Hailing from La Rochelle (France), the band kicks out fun, raw garage punk with a slightly off-kilter-charm that seems to define the current sound coming out of France. Their sound is an absolute burner that features grimy guitar solos and conjures up the smell of sweat and spilled beer. In other words, it’s fuckin’ rock’n’roll. The band is brainchild of songwriter and guitarist Ugo Martinez (Charles Howl / Jerry Tropicano / Skeptics) created in 2014 in La Rochelle. In 2016 came the first 7” from the band release on Frantic City Records - FR, Followed by the band’s first LP SUMMERIZZ released 2017 on Adrenalin Fix Music - Beast Records - Stryckhnine Recordz, the band hit the road on multiple occasions with great returns from the audiences, most notably at the Binic Festival 2017. With two full years of touring the band went back to their favourite studio Swampland - FR and under the supervision of Lo Spider recorded their sophomore album BRAIN DAMAGE released 2019 on US label Dead Beat Records. In 2020 the band now composed of bassist Willy Barre (Ivresse Publique / Boulevard Boys), drummer Hugo Suquet (Thee Maximators), and guitarist / Vocalist Ugo Martinez, recorded their third LP THEE BLACK ALBUM to be released in 2022 on Dirty Water Records (London) and long-time partner and friend Adrenalin Fix Music. For fans of: Thee Oh Sees, Black Sabbath, Jay Reatard, fuzz, and farfisa.

Track list: 1. Mean As Fuck / Intro 2. Bite It 3. Sound Of The Underground 4. Pills And Wine 5. Jail Time 6. Talk, Drink, Bleach 7. The Ants 8. Mash Potatoes 9. Lightnin’ Never Strike Twice 10. HIYW

12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.