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Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Hard Rock/Melodic Metal pioneers Y&T have always been a LIVE metal machine and "Yesterday & Today Live" is the bedrock Y&T's legendary live shows are built upon. Recorded during what-was-then billed as the final date from Y&T's emotional farewell tour before the home town crowd in San Francisco, the inspired and energetic live set is a high octane set of the very best from the band's early catalog. The track listing is back-loaded with the classics fronted by the mighty Dave Meniketti. The majority of the songs are pulled from a powerful trio of early-eighties Y&T albums, the ground-pounding Earthshaker LP, plus the prowling Black Tiger and the hardened Mean Streak. Opening with a blinding version of the keepin'-up-with-the-Jones' "Meanstreak", and the fully-blown assault of "Hurricane", the spirited thirteen song performance adds "Struck Down", the sobering "Winds of Change", the growling "Black Tiger", the inspired "Midnight in Tokyo", the down 'n' out "Hard Times", the Bic-flickin' "I Believe in You" and set closer/fan favorite "Forever". New for 2023 is two additional bonus tracks not included on the original release in 1990; "Earthshaker" and "Rescue Me", making for a 15 track live concert experience from the legendary Bay Area sons; Y&T.

Band: VORNA Album: Sateet palata saavat Release Date: September 27th Clichés almost always have a true core. That artists from the (European) Far North tend to melancholy is one thing that has already been confirmed many times. VORNA is no different. The band from Tampere has been in existence since 2008, and still is today in its original line-up. The six-piece group is well-rehearsed and has continuously developed its sound over the years. With pride and self-confidence the musicians grasp their playing as "Finnish melancholic metal". This means songs with a dark mood and an emotional state-of-mind, which cause reactions from the developing atmosphere. The melancholy comes to bear on different levels, but without ever slipping into pessimistic gloom. VORNA's access to the heavy spectrum is broad and open-minded. The six musicians are guided by their emotions and transform them into dark tuned music. Starting from a base between Folk and Black Metal, the Finns have enriched their playing since 2008. The symphonic extension of the third album underlines the atmospheric and melodic composition of the songs. "Sateet palata saavat" means something like "Return to Rains". In other words: something is brewing before the sky opens its floodgates and the power of nature discharges. This picture fits very well to what VORNA musically have to offer. "Sateet palata saavat" develops to be tense and intense. VORNA's vocals, left in Finnish, don't compromise the access to VORNA's "Finnish melancholic metal". The underlying emotions can be empathized and create an interaction with the listener right from the beginning. The organic songwriting of VORNA underlines the down-to-earth approach, the Finns are following. Partially, however, "Sateet palata saavat" sounds uncanny and creepy.

Matt Berry’s second album for Acid Jazz was the astounding ‘Kill The Wolf’. Building on and expanding on the sound of his label debut, it mixed baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the ruralistic ‘Gather Up’, as featured in ‘What We Do In The Shadows’, and the nine minute ‘Solstice’, as championed by BBC Radio 6 Music.
Zuerst veröffentlicht im Jahr 2013 feiert 'Kill The Wolf' seinen 10. Geburstag. Auf seinem zweiten Album führt Matt Berry seine progressive Musik mit 70-Jahre-Pop und psychedelischen Experimente fort und etabliert sich mit einem von der Kritik gefeierten Werk weiter als Musiker.

Anlässlich des zehnjährigen Jubiläums des Albums sind Deluxeversionen von Tracks erhältlich - in einigen Formaten zum allerersten Mal. Die Doppel-LP im Gatefold-Format enthält das Originalalbum auf der LP und das gesamte exklusive Material auf einer zweiten LP.

Die Fortsetzung. Ein starkes Debüt verlangt nach einem starken Nachfolger. Das Pop/Rock-Sextett BOYS FROM HEAVEN ist jetzt mit seinem zweiten Album "The Descendant" fertig. Die Gruppe bleibt zwar dem AOR-Universum der 80er Jahre treu, hat sich aber von einem atmosphärischeren Sound inspirieren lassen, bei dem sich verträumte Flächen, druckvolle Synthesizer und Drumcomputer mit dem organischen und authentischen Sound der Band vermischen. Alle musikalischen Elemente wurden in dieser unglaublich detaillierten Produktion, die von Erik Martensson (Eclipse, Ammunition, etc.) gemischt und gemastert wurde, akribisch ausgearbeitet.Auf "The Descendant" präsentieren Boys From Heaven das klangliche Äquivalent zu einer Reise zurück in die Zukunft, direkt in die Spielhalle, weiter ins Autokino und zurück nach Hause, um ein gebrochenes Herz zu heilen.

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

Young South Coast UK producer Lyra’s ‘Give It Up 2 Me’ has been a very 2023 entity so far, racking up 170k + streams as an unofficial Soundcloud upload, starting to make an impact on Tik Tok (especially via the L Major remix) whilst being, in 4/4 terms, on the nippier side of things.

Rocking along at an unapologetic 160bpm, ‘Give It…’ goes big on energy, and low on musical frills, as the song (a faithful cover of Ojerime’s original) and driving bass/drums combo do all the work for what is a minimal, avant - donk workout.

On the remix front, Limoux slows things down with a 135bpm 4/4 mix that feels like it has roots in LDN 2015 style foot shuffling, but with added sense of contemporary punch and reach.

Stepping up on an old school / new school junglist front, L Major’s mix takes no prisoners, with his rolling, cut up breaks and big Reese b-line set to cause damage to unsuspecting systems everywhere.

Closing proceedings, the Jag Limbo mix doesn’t seem to know if it wants to be Overmono or Giorgio Moroder, is in reality neither, and arguably none the worse for it.

De La Soul is never far away from the conversation about great music but as of late, they have been back in the headlines more than ever as their music finally got added to digital streaming sites. Buhloone Mindstate is a lesser-known but just as good album as the most famous Three Feet High and Rising and was a critical success at the time. The lead single has samples of Michael Jackson's 'I Can't Help It' and Smokey Robinson's 'Quiet Storm', there is a collab with Biz Markie on 'Stone Age' and MC Shortie No Mas appears on many tracks including the particularly standout 'In The Woods'.

Orange Galaxy Vinyl

Repress!

It can take a while for an artist to find their musical voice. For Alex Andrikopoulos, it’s been a journey that’s taken the best part of two decades. Now he’s set to mark a major milestone in his transition from record store owner, label co-founder and DJ to producer with the release of his long-promised first solo album for Leng, Waving. The Greek artist first joined the Leng Records roster in the autumn of 2020 and has since gone in to release the acclaimed ‘Punta Allen’ EP for the imprint. Before that, he spent the first decade of the century running the popular Radical Sounds record shop in Athens, before refocusing on running Quantized Music with fellow DJ/producer Tolis Q and developing his DJ career, where his unique blends of disco, house and techno tracks earned him bookings at some of Europe’s most storied clubs.

Waving, which appears on the back of a handful of fine EPs for a variety of labels, is his boldest and strongest statement yet as a musician and producer. Created with a little help from guest musicians and collaborators including keyboardist Artis Boriss, bassist Brotha Gilla, percussionists Ilario Arnel and Harold Perez, pianist Luciano Ledesma and guitarist Alex Searle, the album brilliantly blurs the boundary between 21st century disco, afternoon-ready downtempo grooves, and the kind of dancefloor-minded Balearic fare that’s devilishly difficult to pigeonhole.

Fittingly, the set begins with previous single ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness which slowly unfurls before rising towards and gorgeous and joyous conclusion, and ends with the squelchy, slo-mo cosmic funk of ‘Patrol Di Caribe’, where trippy synthesizer lines, layered percussion and more tuneful style pan style lead ins catch the ear.

In between, highlights are plentiful, from the driving, piano solo-laden dub disco brilliance of ‘Down My Soul’ and the languid, sun-kissed, beach-ready downtempo grooves of ‘The Jamail Pass’, to the rubbery, pitched-down electrofunk of ‘Window Spells’ (featuring a fine lead vocal from Max Giovara, the flash-friend, dubwise Balearic funk of ‘Waving’, and the throbbing brilliance of ‘La Di Da Di’, whose crunchy Clavinet lines, fluid electric piano solos, snappy drums and pulsating, arpeggio-style bass encapsulate all that is good about the album.

The digital edition of the album also comes bundled with eight more tracks not featured on the double-vinyl LP. Featuring the same blend of expansive musicality, organic drums and dancefloor nous, this octet effectively extends the album via a string of similarly playable, club-ready and sofa-friendly tracks. Standouts include the non-stop, nu-disco-meets-house excellence of ‘Large Stacks’, Hammond-laced head-nodder ‘Take The High Road’, horizontal Balearic funk shuffler ‘Prezend’ and hazy, vocal-sporting dub disco roller ‘Angels of Rhythm’, which previously appeared on the flipside of Lex’s ‘Punta Allen’ 12”.

As the siren’s song echoes out of systems worldwide, perhaps we are (re)turning to the liquid age of dance; with natural ephemera such as moss, sentiments for ecology such as swamps, and mercurial aspects of water all absorbing the aesthetic forefront. A return to nature, a deep dive under the lily pads. Here Marijn with her debut EP guides our plunge, a trip previously taken via her podcasts on Kulture Lab, where you can also find her previously released music.

Whispers from the ethereal plane drift around the headspace, a rumble in the distance of sound traversing the water, voices to guide and to keep you from floating too far from the line. Audio hallucinations are aplenty when submerged, a serenity of space, yet distant growls assure that peace is not always 2 be found. The melancholia within the daydream, the pang of loss caught in reflections, internal and from the water, with the lily pads floating above as a guiding entity, an anchor, something to hold. Under the lily pads we rumble.

On the flip everyone’s fav casual breaks n rave hooligan Luca Lozano asks the recurring thought within dance music, a question we quest, yet rarely want the answer. Abstraction via squeaks and tweaks, you better bop your bleepin’ head to this 1.

‘Leave A Message’ leaves the tranquil waters disturbed and rippling to the outer edges, providing jumps for the lily pads to ride on the incoming tide, with the ebb and flow making way for a storm surge. Aka big beats are the best, a notion the directly honest final track ‘Made (Drums)’ follows, bringing a twisted jack attack logic to a deranged assembly of samples, a manic orchestra of tumbling drums who have conspired to freak out, albeit with cute bubbles underneath to revel in the allure of sonic mania.

As far as debut EP’s go, Life In Exile is a spellbinding introduction to the sounds of CRTB, a producer and DJ whose name is beginning to burn hot on the tongues of punters up and down the land, with good reason.

Characterised by pulsating, bass-driven grooves and masterful percussion, Newcastle born, London based CRTB has unveiled a monster of sound with his latest venture, where the producer flexes an ungodly blend of four-to-the-floor basslines, contagious melodies and synths to create a visceral soundscape, infectious enough to cause dance-floor destruction wherever these sounds land.

From the pulsating percussion of It Never Ends, to the rattling rapture of Nothing Moves You; a track that erupted in Mall Grab’s Melbourne Boiler Room set, this EP has energy coursing through its veins. This energy fuels the hypnotic sounds of Temper, and the radioactive rhythm of Nature Boy, where CRTB brings fellow heavy-hitter KETTAMA into the fold, resulting in an unforgiving, atomic anthem.

Life In Exile is an EP that sees its creator, CRTB, conduct wild, electronic experiments of sound to devastating effect: a sign of things to come from one of Newcastle, aka the Steel City’s most exciting prospects.

Recycled Col. LP

McKinley Dixon calls the late Toni Morrison the greatest rapper of all time; and the way he tackles topics like survival, violence, and religion within the expansive landscape of the Black experience, evokes her novels. It is from the title of Morrison‘s Beloved trilogy where he finds the title of his new album with City Slang Records: Beloved! Paradise! Jazz!? Musically his household was defined by “artists whose first name was Mary,” including Mary J. Blige and gospel duo Mary Mary. Discovering Outkast was formative for Dixon, deepening his love for hip-hop while he also grew curious about the more theatrical rock of groups of the day, bands like My Chemical Romance and Panic! At The Disco that his Maryland friends introduced him to. “Those groups also helped me with my sense of longing, since their music reflected a sense of longing,” he says. Eventually he channelled these competing influences into a debut EP he released in 2013. With time, his music became his primary means of self-expression, whether discussing Blackness or his own relationship with healing. Across his next releases, his style evolved and his confidence grew, especially when it came to live instrumentation. His 2021 debut album For My Mama and Anyone Who Look Like Her was a game changer, as Dixon set his sights on heartache and grief. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon says of that project. Beloved! Paradise! Jazz?! is an attempt at channeling different impulses. Sometimes rough and other times delicate, this record is a journey into is a journey into the psyche of McKinley Dixon, with all of the of the attendant peaks and valleys.

Limited to 1000 copies on Sea Blue vinyl! There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the COVID-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Limitierte Auflage: honiggold-farbene Vinylschallplatte, alternatives Cover-Artwork, 2 Einleger mit Bildern und Texten, antistatische Innenhülle. SHE KEEPS BEES, Jessica Larrabee und Andy LaPlant (auch privat ein Paar), fanden 2006 zusammen, ein garagig, souliges Blues-Rock Duo aus Brooklyn, NY. Nach einigen selbstveröffentlichten Aufnahmen, sorgte hierzulande erst ,Eight Houses", ihr jüngstes, im September 2014 über BB*ISLAND erschienenes und vielgelobtes Album für größeres Aufsehen, sowie die darauf folgenden Konzerte. "Nests" ist das Debüt des Vollzeit-Duos. Aufgenommen 2008 in ihrem Brooklyn Appartement, mit einem Fünfdollar-Verstärker und einer akustischen Gitarre aus einer Satanisten-WG ist das ein neu zu entdeckendes Juwel in Sachen bassloser Boy-Girl-Duo-Sound und Bedroom-Blues. Howlin Wolf und Millie Jackson könnten hier Taufpaten gewesen sein. Cat Power, frühe PJ Harvey, The Kills sind auch nicht weit. Jessica Larrabee hat mit ihrem rauhen, beseelten Gesang und ihrem intuitiven Gitarrenspiel eine sehr eigene Intensität und Präsenz. Ihre betörend schlafwandlerische Stimme ist durch und durch soulful. Ihr Partner Andy La Plant ergänzt das mit seinem direkten, wie zurückgenommenem Schlagzeugspiel kongenial. LaPlant kümmert sich dabei auch um die Produktion. Die Selbstbeschränkung der Mittel sowie der Ort an dem sie aufnehmen ist sicher ein Vorteil. ,Nests" ist ein New York Album und She Keeps Bees Musik ist wirklich blank bis auf die Knochen, bestimmt von weiblicher Stärke und Emotion, und buchstabiert alten Blues: Minimal, dunkel, roh, heilend.

Ligeti schätzte die Improvisation beim Jazz, lehnte sie aber
innerhalb seiner Kompositionen ab. Entsprechend respektvoll gingen Parisien und Negro vor: „Die originalen Motive, Stimmungen und Farben blitzen immer wieder hervor.

Harmonisch haben wir sie mit unseren Ideen erweitert,“ erklärt Negro. Bei ihrer Ligeti-Hommage halten sie sich nicht mit historisierenden Konventionen einer alten abstrakten Avantgarde auf, sondern lassen betörend aktuelle, mitreißend konkrete Musik erklingen.

Wicca Phase Springs Eternal is the creative persona of Scranton, PA singer, songwriter, producer, and multi-instrumentalist Adam McIlwee. Stark transmissions of obsession, melancholia, and raw emotion compliment acoustic guitar and digital percussion as if Peter Murphy and Metro Boomin had been playing Ouija together. Beneath the deep 808’s, moody synthesizers and cackling guitar, McIlwee’s singular voice effectively resonates with a generation raised amidst the frenzied collage of modern digital expression.

Wicca Phase first materialized in 2010. After receiving the name suggestion in an email from a friend on tumblr, McIlwee began writing and recording under the moniker. “Once I heard the name, it felt perfect,” he explains. Evoking mystical, occult resonances, the name serves as a passageway to explore the parallels between the material world and that of mystery. “My music is very representative of what I’m doing in the moment,” he continues. “The influence of the name seeps in and lets everyone know they’re getting into something deeper.”

Im November 2021 startete De Staat sein Projekt „red yellow blue“. Nach mehr als 1,5 Jahren wird das Projekt im Juni 2023 seinen Höhepunkt erreichen und in voller Länge veröffentlichen. Dazu gehören Songs wie: “Who’s Gonna Be The GOAT?” (yellow), “Look At Me” (red) und “Running Backwards Into The Future” (blue).

Während der Pandemie gab es mehr Ruhe und Raum, um gemeinsam an neuen Songs zu arbeiten. Während des Entstehungsprozesses bemerkten De Staat verschiedene Stile in ihren Demos wieder - alle mit dem erkennbaren, eigenen Sound. Nachdem die ersten Songs fertig waren, wurden sie der Einfachheit halber in Primärfarben unterteilt. Diese drei Farben stehen für Gemütszustände: Rot für die dunkle Seite, Gelb für unbeschwerte, tanzbare Songs und Blau für Melancholie. Zusammen bilden sie das gesamte Spektrum
dessen ab, was De Staat im Moment ausmacht. Sobald sie das erkannt hatten, konnten sie die Grenzen innerhalb dieses Rahmen erweitern.

Während Torre schon immer den Großteil der Musik geschrieben hat, war die Band mehr als früher am Schreiben neuer Songs beteiligt. So entstanden Stücke, die sonst nicht geschrieben worden wären. Andrew Scheps ist der Mischtechniker dieser Songs. Er erhielt Grammy-Auszeichnungen für seine Arbeit an Red Hot Chili Peppers „Stadium Arcadium“, „21“ von Adele und „Fly Rasta“ von Ziggy Marley.

In the years since The Aces released their acclaimed sophomore album, ‘Under My Influence’ in 2020, the band has been on a journey of self-discovery. Faced with the realities of a global pandemic, sisters Cristal and Alisa Ramirez (lead vocals/guitar and drums, respectively), Katie Henderson (lead guitar/vocals), and McKenna Petty (bass) used quarantine as a time to reflect, confronting personal mental health issues as well as processing experiences they’d had growing up together in Provo, Utah, as part of the Mormon church. When The Aces returned to the studio, their vision — and the honesty and trust between them — felt stronger than ever. The result of this growth period is ‘I’ve Loved You For So Long,’ the band’s third LP. Written and executive-produced by the group (along with Keith Varon, the sole collaborator on the project), the album is a sparkling indie-rock record that’s by far their most personal and self-assured work to date. From tracks that ruminate on mental health and self-sabotage to searing anthems about love, longing, and heartbreak, ‘I’ve Love You For So Long’ is a record that’ll work its way into your head and heart — and will have you singing along all the way through. ‘I’ve Loved You For So Long’ is also an opportunity for The Aces to reach new heights and build on their many previous successes. To date, the group has earned over 205 million career streams; ‘Under My Influence’ alone garnered more than 75 million (including 35 million on its lead single “Daydream”). The album also appeared on numerous charts, including #53 on Billboard’s Top Albums list. Further, The Aces have toured with the likes of 5 Seconds of Summer, X Ambassadors, The Vamps, and COIN, and have played at festivals all over the world, including NY Pride, Lollapalooza, Firefly, Bonnaroo, OUTFEST, and more. After selling out their last U.S. headline tour in 2021, the band will hit the road again this year, with dates soon to be announced.

A legend. Electric. Transformative. The greatest of all time. There’s no superlative that
Richard Pryor hasn’t already earned, and with good reason. From the very start, his voice was
both singular, truly unmatched, and plural, containing multitudes. In a breath, he embodies a
full swath of humanity, dropping his audience into the raucousness of Hank’s Place,
becoming everyone from the streetwise handyman to the lecherous farmers, beautiful black
Irma who loved to tell people to kiss her ass to Weasel who spent all the time he wasn’t
signifying on negging potential marks. He dances between pimps Coldblood and Smooth,
dips into the persona of Tarcy the cop, and transforms into tight-lipped Jesse, the basketball
beast. In another, he paints an entire scene-within-a-scene with “Prison Play.” He’s everyone
(a not uncomfortable feature of his existence: having grown up Black in a Jewish tenement
in an Italian neighborhood, he jokes that the general attitude among the local toughs was
“Get him! He’s all of ‘em!”), everything, everywhere. Along the way, Pryor punctuates every
laugh with a jab, sharply rebuking all the social ills that seek to divide and conquer, all the
filthy, inhumane -isms that offend the senses (or rightly should). And he does it all while
assuring his audience they have nothing to fear from the Black man—except his thoughts.

Richard Pryor contained multitudes, each fully inhabited character funnier and more
insightful than the last, so it’s no wonder when he took the stage at The Comedy Store in
Hollywood in 1973, it’d be a full 15 minutes before he spoke to the adoring audience as
himself. No, he needed to start where he started, on the streetcorner, with all the wit,
wisdom, and general jackassery of Wino & Junkie. Throughout a set full of hard jokes and
detailed character sketches (including the men of the Saturday night police lineup in his
hometown of Preoria, Illinois—the first and riskiest stage he knew), the audience has the
chance to get caught up in the silliness so inherent to Pryor while never losing sight of the
issues America had yet to face (and hasn’t still). There are sex jokes that hit so hard the
women in the audience take an audible refractory period, drug advice that has you weighing
the relative trip-laden merits of dope and acid, and a call-and-response on sandwiches that
proves the irresistibility of zealous Black midwestern preachers; there’s a litany of celebrities
whose names and projects have blurred in Pryor’s mind, but whose faces and friendship so
clearly light him up; there’s even fighting advice (don’t fight Italians, their mothers get
involved, and try to avoid a paternal cowboy whuppin’, because no one wants to get hit with
a chair). And then you get hit with the hardest punch: Pryor reaching out from 50 years past
to make the truth plain. You never hear about civilians accidentally killing cops, so why is it
that cops are always “accidentally” killing Black men? As it turns out, 1973 and 2023 aren’t so
far apart that the legendary Richard Pryor can’t bridge the gap.

Stil war gestern, Transformation und Genrevielfalt sind heute! Mit seiner bestens eingespielten Formation Shake Stew, die sich aus zwei Bässen, zwei Schlagzeugern und einem edlen Bläsertrio zusammensetzt, bietet der österreichische Kontrabassist Lukas Kranzelbinder ein intergalaktisches Roadmovie für die Ohren und "good vibrations" für die Seele. Auf dem Debütalbum "The Golden Fang" wehen schamanische Klangschlieren und böllern kolossale Beat-Architekturen, während energietrunkene Bläserstimmen Schlangenlinien fahren. Stimmungen werden smart einer langsamen Metamorphose unterzogen, Soli elegant in ein atmosphärisch dichtes Klangbild eingehüllt. Das gemahnt mal an eine Marching Band, dann wieder an freitonale Feste, wobei zwischendurch auch orientalische Skalenexkurse und bluesige Andeutungen farblich aufblitzen. "Mit diesem Nachwuchs steht der österreichische Jazz auf gesunden Beinen", befanden die "Oberösterreichischen Nachrichten".

Repress 2023!

Auf John Talabots Debütalbum "Fin" aus dem Jahr 2012 "baut der spanische Produzent auf seinem unverwechselbaren Sound auf - farbenfroh, nostalgisch, aber niemals retro, locker, aber leicht verwirrt - ohne sich zu wiederholen. ... Talabot ist zu einem Vorbild für eine neue Generation von Produzenten geworden, die an der Schnittstelle von Deep House, Disco und Indie-Pop arbeiten, und er hat sich seine eigene Nische irgendwo zwischen der Zeitlupen-Theatralik von Künstlern wie ... den weltumspannenden Juwelentönen von Four Tet und Caribou und dem Psych-Pop-Rausch von Animal Collective und Delorean geschaffen. ... Seine langsamen Tempi, übersättigten Farben und tropischen Akzente passen genau zu der benebelten, feuchten Tanzmusik, die derzeit in Mode ist, und er hat sich in einer geschätzten Kompanie wiedergefunden - er remixt The XX ...". Pitchfork Media - Kandidat für das Album des Jahres 2012.

Rewind LTD launches the first vinyl release featuring our friend from Paris - Jeff The Fool, in the company of his French friends on remixes Crowd Control, Wilt, Ghetto 25.

Antoine is a lover of smooth deep house melodies and hip hop, as well as seductive French and Russian words cut into his samples.

The original versions begin with a magnificent fusion of jazz, funk and house vibes,having honed his already recognizable style in his studio and using samples in a compartment with analog synthesizers, Antoine declared himself in his native France, and far beyond its borders.

Soul Farmer is a smart, fast and rhythmic track with sample editing and an infectious groove in collaboration with Ghetto 25, next comes an energetic, dynamic remix from Wilt, this is a club house track with a touch of techno and a slight sourness, which will obviously work on the dance floor, the boss of the famous label Happiness Therapy - Crowd Control finishes this journey, this is a subtle but sublime remix, with dreamy pads and a classic bass part, emphasizing the now familiar and memorable melody of the original.

1956 album from the 'King of Mambo'. Perez Prado and His Orchestra "Havana, 3 a.m."

Hear the most wonderful sounds beautifully remastered by Mr. Nick Robbins at Sound Mastering...

* Super cute, lovely, Mambo-Tastic yet Rock n Roll artwork by Mr. Allan NoMan

Imagine..if you will...a world in which your dreams of a HOT crazy, sexy, dancing Havana 3 A.M in 1956 come to outrageous life? Try here then my friends, a recreation in studio Hi Fi blaring horns-tastic percussion heavy sounds, as perhaps the first ever concept album (fighting it out for the honour with Frank Sinatra’s Songs For Young Lovers) blasts from your system, taking you in a personal Tardis with Mambo King Perez Prado, to dance the night away….large Mojitos and giant cigars are optional….dance is not…..the other super sexy dancers are in YOUR mind!

Previously unavailable on vinyl for more than 50 years, this rare collection of tracks presents a wealth of hits that helped define country music in the ‘60s - and beyond!

If you don’t remember Western Swing in its heyday, or the first generation of Texas Honky Tonk, you may not know Billy Gray. Aside from a select group of music aficionados and musicologists, Billy Gray’s name and significant contributions to country music and western swing have simply gone unrecognized for far too long.

Musically, there were many shades of Billy Gray. Singer, Songwriter, Musician, Performer, Arranger, Bandleader. Whether on stage or in the studio, Billy Gray personified what this music was – and still is – all about.

Billy played behind some of Country Music’s biggest names – Hank Thompson, Ray Price and Willie Nelson – served as Thompson’s and Price’s bandleader – and built quite a following in his own right with his own bands, The Western Okies, The Nuggets and The Cowtowners.

Billy Gray, together with the legendary Hank Thompson created a wealth of hits that helped to define the country music of an era, and beyond, helped launch the career of future rockabilly legend Wanda Jackson, and greatly influenced the future sound of country music.

-- Joe Hopkins

Recorded Live at the Brixton Academy, London, 26th March 2005 & at L. I. P. A.
Rehearsal Rooms, Liverpool, 23rd August 2005.
Peter Hooton: Vocal
Steve Grimes: Guitar
Keith Mullin: Guitar
Carl Hunter: Bass
Roy Boulter: Drums
Ben Leach: Keys
Beverly & Barbara Keenan: Backing Vocals

On their sixth studio album "Wanderer", THE INTERSPHERE show with
enormous variety how far the search for innovative sounds can take a
band in the classic rock line-up
The figurehead for modern rock music pursues the approach to electronic
elements with bravura. THE INTERSPHERE 2023 stand for maximum musical
curiosity and a spirit of discovery that could not better depict the ambivalence of
our time. In the lyrics on "Wanderer", singer Christoph Hessler alternates between
personal introspection and a socio- politically alert power of observation - the
work of THE INTERSPHERE is also inconceivable without this perspective. THE
INTERSPHERE don't shy away from the big hook line or dramatic harmony arcs in
their border crossings to post rock, metal and pop. Thus, the quartet remains
internationally on par with acts like Biffy Clyro, Royal Blood and Thrice in every
respect.

White vinyl 7” is for Indie stores only. For Fans Of... Quantic, Erykah Badu, Fela Kuti, Antibalas. Unique blend of Alt. R&B and afrobeat. Smokey, soulful vocals, lush hom section and percussion. "Never Knew" features Divina Jasso's illustrious vocals over a heavy backbeat marinated in distorted farfisa, percussion, and a dynamic 3-piece horn section; a meditative groove that will keep your head nodding and hips swaying. On the flip, we have "Impala", a dark and hypnotic afrobeat tune that is mixed somewhere between Fela and Dr. Dre. Thick drums and bass with insistent percussion and scolding hot brass melted on top. Also Available From Mitchum Yacoub: Cumbia Divina 7”. Tracks: A: Never Knew (Feat. Divina Jasso. B: Impala (Inst. Feat. Bradley Nask)

200 Black Vinyl Only.

Neu-Romancer is the solo venture of Australian musician Laura Bailey, who’s razor sharp Italo production shines bright in her debut EP on Fleisch. Titled ‘Neue Romantika’, a nod to her Berlin relocation, these four tracks entangle the nostalgia of the New Romantics and the heartbreak of a not-so-far-off digital dystopia.

‘Neue Romantika’ brings oneself into the now, for a brief moment of synthesized beauty. The EP is closed out with an ethereal remix of the title track by ongoing collaborator and Fleisch custodian Zanias. Written, produced and mixed by Laura Bailey

Additional production and mixing by Kris Baha Additional vocals on ‘Remnants’ by Kris Baha Additional vocals on ‘Neue Romantika (Zanias Remix)’ by Alison Lewis ‘Neue Romantika’ (Zanias Remix) mixed by Ewan Kay Mastered by Sam Berdah at the Wall Studio Artwork by Hidrico Rubens

Die Musik von Soul Supreme bewegt, groovt, pocht und schlägt mehr denn je. Die farbenfrohe Klangpalette von 'Poetic Justice' bietet die bisher größte Besetzung mit Gastmusikern: darunter Drummer J-Zone, Bassist Glenn Gaddum Jr., Jeroen Verberne (Gallowstreet) und Johnny Biner und Euan Jenkins (beide Radiohop). Mit seinem bewährten Set-up und einem neu hinzugefügten Clavinet klingt Soul Supremes Schmelztiegel aus Jazz-Funk, Hip-Hop-Grooves, gefühlvollen Cuts und Library-Funk reicher als je zuvor.

Sasu Ripatti presents the third volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

--
”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

--

Under the production moniker of Material Things, 12th Isle co-founder Stewart Brown unveils a part debut album part compendium of musical collaborations spanning from 2015-2020. Some recordings began as long, one-take improvisations (How's Life, Peckham) spliced together and revisited years later. Others were based upon chance opportunities to record with musicians operating a long way from the parameters of 12th Isle.

Cult private-press loner folk guitarist Bob Theil, whose 1982 album So Far counts as one of the Scottish greats of the era, is at the heart of 'Westway'. Synth and guitar fragments recorded by the pair in Stewart's family home one summer form a low-key conclusion to the collection, whilst London based percussionist Pike Ogilvy brings an array of drum sounds and natural percussion to 'No Direction'. Regular 12th Isle affiliate Vague Imaginaires also features heavily, contributing synth work on Grenoble and his own extended digi bonus remix of 'How's Life'.

As a collection, the 8 tracks show a studious, concise vision and combine influences from minimalism, concrete and avant-garde jazz and techno yet also embrace friendship, experimentation and curiosity whilst capturing 5 years of the artists own personal life. Some of the tracks have been circulating in various versions for a number of years now, with DJ support from Bake, Ivan Smagghe, Optimo, Lena Willikens, Huntley & Palmers, Orpheu The Wizard and, of course, 12th Isle.

2022 marked the 10th anniversary of Lonerism. To celebrate, Tame Impala present fans with a deluxe 3LP reissue of the album that features previously unreleased demos from the era.
Recorded in both Western Australia and Paris between 2010 and 2012, Lonerism was Tame Impala’s breakout record. It received critical acclaim from the likes of Pitchfork and NME and is regarded as one of the best albums of 2012.

ugne&maria is the duo project of Ugne Vyliaudaite and Marija Rasa Kudabaite, both based in Brussels. Their music is made from a mosaic of samples and carefully triggered field recordings, in dialogue with Vyliaudaite's violin. Intricate and calming but far from ambient, in that where ambient music recedes ugne&maria's music sounds always close to the skin. The compositions are subtle and precise, setting up a logic and then gently manipulating it or letting it hover for several minutes. Elements move seamlessly from background to foreground and then return. Snatches of text or recognisable samples serve as textures rather than as location markers or figures to which one could reliably ascribe meaning. (Henry Andersen)

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen