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The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus.
"Origins" is their long-awaited debut album!
Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up.
Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.
Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music!
Passionate about collaboration with both their recordings and performances, they often call
upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more. With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.

Neues Soloalbum des legendären Hard Rock Sängers Robin McAuley. Auf diesem neuen Album trotzt McAuleys Stimme weiterhin der Zeit und klingt so inspiriert und kraftvoll wie eh und je. Die Musik selbst ist härter und rockiger als sein vorheriges Werk "Standing On The Edge". Dieses Album liefert und übertrifft wohl das Versprechen des Debüts der Band und sieht erneut Robins kraftvollen Gesang in einer fantastischen Hardrock-Umgebung. Wieder einmal ist Robins inspirierte Gesangsleistung eine Offenbarung. Robins Begleitband ist die gleiche, die mit ihm auf dem vorherigen Album aufgetreten ist, darunter Gitarrist Andrea Seveso, der wieder einmal mit seinen Talenten absolut verblüfft, Bassist / Keyboarder Alessandro Del Vecchio (der auch wieder produziert) und Schlagzeuger Nicholas Papapicco. Robin McAuley gilt weithin als einer der großen Sänger einer goldenen Zeit in der Hardrockmusik. Seine Stimme ist auf Alben von Grand Prix und Far Corporation zu hören, und natürlich auf den MSG-Chartstürmern "Perfect Timing", "Save Yourself" und "MSG". Nachdem er MSG verlassen hatte, veröffentlichte er 1999 ein Soloalbum, schloss sich dann den AOR-Legenden Survivor an und ging dann zum Michael Schenker Fest auf ihren jüngsten Alben "Resurrection" und "Revelation". Und natürlich kam er 2020 als Frontmann der Supergroup Black Swan heraus. "Alive" könnte nicht treffender betitelt werden, wenn Sie dieses glorreiche Rock'n'Roll-Album hören.

"The Concert" is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale.

For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story?

Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition "The Concert" functions as its sound rendering, by following a similar path.

This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf.

The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

Latifa Echakhch Lives and works in Vevey, Switzerland. She graduated from the École nationale supérieure d’arts in Cergy-Pontoise and the École nationale des beaux-arts in Lyon. Galleries representing her include kamel mennour (Paris and London), kaufmann repetto (Milan and New York), Dvir Gallery (Tel Aviv/Brussels) and Pace (New York). She took part in the main exhibition of the Venice Biennale Arte in 2011 and was awarded the prix Marcel-Duchamp in 2013 and the Zurich Art Prize in 2015. Through her interdisciplinary installations, Latifa Echakhch is recognized for the fine balance between forcefulness and fragility of her visual language, inserting surrealist and conceptual elements, and her use of symbols that–in her own words–are both "political and poetic".

Alexandre Babel Lives and works in Berlin. He is a drummer, composer, and curator. His projects redefine the boundaries of musical convention, confounding listener expectations in the conquest of new contexts. Babel has been the artistic director of the contemporary percussion group Eklekto 2013–2022. In 2020, the monographic Festival Les Amplitudes in La Chaux-de-Fonds focused on Babel’s compositional and curatorial work. He is a laureate of the Swiss Music Prize from the Federal Office of Culture 2021.

Es überrascht nicht, dass der Schlüssel zur Zündung der Band nach der dunklen Pandemiezeit in Form einer Liveshow kam, als sie als Headliner des Download Festival Pilot vor 10.000 Fans auftraten. Während in den zwei Jahren zuvor kein einziges neues Wort aus der Feder von Leadsänger und Keyboarder Rou Reynolds geflossen war, wurde eine Erkenntnis geboren, die die siebte LP der Band prägen sollte: 'Ich hatte einfach nicht erkannt, dass die menschliche und physische Verbindung zu anderen Menschen so zentral für mein Schreiben ist', sagt er. Enter Shikari sind nicht nur vier Menschen - es sind Hunderttausende. Während die erste Single '(pls) set me on fire' die nächste Stufe in der Entwicklung der Band einläutet, kommen die ersten Worte von Enter Shikari 2.0 nicht als Frage, sondern als Befehl: 'Bitte zünde mich an'. Entfache den Funken in uns und lass uns frei werden. Dies mag eine neue Enter Shikari sein, aber sie haben nichts von ihrem Gespür für kühne Eröffnungsgambits verloren.

Im Frühjahr 2022 zog sich die Band in ein verfallenes Bauernhaus an der Küste zurück, um ihr Studio-Setup neu aufzubauen und den neuen Schwung auf Platte zu bannen. Reynolds fährt fort: "Zurück zu den Grundlagen. Diese Band - meine besten Freunde - versammelten sich in einem alten Bauernhaus, meilenweit von allem entfernt. Vom Netz getrennt und bereit, uns selbst neu zu entdecken. Dieses Album wird von der Sonne angetrieben, dem mächtigsten Objekt in unserem Sonnensystem. Und ich denke, das merkt man auch. Es ist eine Sammlung von Songs, die eine explosive Wiedervereinigung mit dem darstellen, was Enter Shikari ist. Der Beginn unseres zweiten Aktes'.

When you see Dr. Packer’s name on the tin you know you are in for a treat! He takes BB&Q Band’s classic “Main Attraction” and turns it with his magic into a Nu-Disco boogie-down floor fest.

Produced by Kae Willams II and with vocals by the great Curtis Hairston, the Dr. from ‘down-under’ manages to encapsulate the 80’s funk soul feel from BB& Q Band’s seminal original to carry those heady days of dancing till the sun’s up into 2023 and beyond.

UK-based Grammy-winning producer and composer Tourist (William Phillips) returns with his new album 'Everyday' scheduled to be released early 2019. The album delivers outwardly facing chill-electronic tracks that connect with a listener and convey a human story through samples, sounds and melody. Tourist remarks on his new music, "I'm interested in exploring human themes through sound. Family, mental health, loss, love." 'Everyday' is a follow up to his 2016 debut album 'U' and 2017 Wash EP which earned him critical acclaim and a legion of tastemaker fans around the world. 'U' garnered support from outlets like NPR, Vice, Billboard and Rolling Stone Australia. The single 'Run' landed #1 on BBC Radio 1 Dance Chart. Soon followed by sold out shows across the UK, US and Australia including major festival plays at Glastonbury, Coachella and Bestival. The new album introduces Tourist in a new space and demonstrates his wide scope of artistry.

After a tour in alternative venues and small festivals, Agar Agar announced a new album to be released on January 20th
and a European tour !

The duo composed of Clara Cappagli and Armand Bultheel is back with a video game developed by Jonathan Coryn, an
immersive visual and sound experience directly linked to the twelve new tracks.

"Player Non Player", name of the album and the video game, speaks about the intrusion in the intimacy, the need to escape
from the finished borders… or even dragons !

A whole universe to discover live !

French techno titan Madben unveils his much anticipated ‘Troisième Sens’ LP on Maceo Plex’s Ellum Audio.

Madben started absorbing the techno of Jeff Mills, Dave Clarke and Speedy J in the 90s, growing up in Lille in northern France. He retains a passion for DIY culture and warehouse parties thanks to youthful raving at Brussels' Fuse, Gent's Kozzmozz or in abandoned factories in Courtrai. All this has shone through in his music, including a debut album on Astropolis in 2018 that featured a collaboration with Laurent Garnier and a recent EP for Garnier and Scan X’s label.

Over the last decade, he has become a European club and festival favourite playing places like Berghain and Awakenings. His studio boasts a fine array of machines utilised to full effect on this latest opus. ‘Troisième Sens’ perfectly reflects what the artist has always loved, listened to and played, keeping one eye on the dance floor but never at the expense of musical narrative. It’s a genuinely progressive, multi-genre body of work that allows listeners to fully immerse themselves in the seemingly limitless depths of the Frenchman’s sonic capabilities.

He says, “Over the years, I learned to have more fun with the gear in my studio, and this has been the result. The album took three years to finish; I started in an underground basement studio in Paris before moving to Nantes. Therefore, it may surprise listeners with such a diverse selection of moods. It's dark in places but happy in others.”

'Departure' kicks off with uplifting synth work and broken techno beats that have a celebratory feel. 'Addicted' is a lithe cut with steamy vocals and a more fulsome combo of drums and bass, while 'Circuit Breaker' cuts loose in the cosmos. Acid wobbles, smeared synths and metallic percussion all make for a bouncy cut before 'Fade In Fade Out' continues the cosmic trip with vastly oversized synth patterns that will light up a dark space with overwhelming euphoria.

The brilliant 'It's 1 am In A Rave' is a dark, heads-down banger with 'Lost Memories' then layering up melancholic synths and Plastikman-style drum loops into something full of deep thought. There is no let up with the superb acid techno gymnastics of 'No fear', and 'The March' is a turbulent mix of sheet metal synths that whip about over steel-plated drums. 'You Dance Like A Robot' is end-of-the-world electro with a menacing robot vocal, and the electro tip continues with expert drum programming and menacing leads on 'Deep In The Jungle'. 'Meta' is a flailing rhythmic workout that sounds like the machines are in meltdown, and 'I Made A Dream During This Nightmare' is a serene techno soundscape for ruminating about the future of the human race.

Intelligent yet immediate, impactful but emotional, ‘Troisième Sens’ is another standout techno record from Madben.

REPRESS

Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013.

"All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.

Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."

Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape.

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition im Half Speed Mastering. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios von John Webber in den AIR Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

Limited 1 x 140g 12" picture vinyl album.

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition als Picture Disc LP. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Clear Vinyl

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Das vierte Temples Album 'Exotico', das von Sean Ono Lennon produziert wurde, spielt in dieser wundersamen Umgebung einer utopischen Insel, die sich Sänger/Gitarrist James Bagshaw, Bassist Tom Walmsley, Keyboarder/Gitarrist Adam Smith und Schlagzeuger Rens Ottink ausgedacht haben. Mit ihrer schillernden Collage aus Psychedelia, Glamrock und Dream-Pop erweckt 'Exotico' diese bunte Welt mit gefühlvollen Melodien, futuristischen Synthesizern und fesselnden Gitarrenriffs zum Leben und erkundet dabei ein ganzes Spektrum existenzieller Themen. "The idea of the record is that we’re transporting people to a place they’ve never experienced, a beautiful destination that’s meant for everybody", erzählt Bagshaw.

Abgemischt von Dave Fridmann (Beach House, Spoon, The Flaming Lips) und hauptsächlich in Lennons Studio im Bundesstaat New York aufgenommen, setzt 'Exotico' die Zusammenarbeit fort, die auf der von Lennon produzierten Single 'Paraphernalia' (2020) begonnen wurde. Dafür erweiterte die aus Kettering stammenden UK-Band ihre musikalische Palette um eine enorme Bandbreite an Instrumenten - passend für ein Werk, das von klassischen Symphonien über italienische Horror-Soundtracks bis hin zu Girlgroups der Brill Building-Ära inspiriert ist.

Spawning from the Manchester music scene in 2008 and now sucking in members from all over the UK, the Riot Jazz Brass Band is a nine-piece genre-mashing, foot stomping party behemoth bringing the love buzz to ears and feet all over the world

New album RIOT JAZZ MAKES PEOPLE HAPPY is the culmination of a 15- year mission to spread joy and get people moving. With three trumpets, three trombones, sousaphone and drums bringing the noise and MC Chunky conducting the chaos, the result is a gleeful cacophony encompassing jazz,hip hop, drum 'n' bass, trap, grime and more.

The intoxicating sound and spirit of the Riot Jazz Brass Band, as well as its deep commitment to exploring all sorts of musical genre, has seen it tapped to collaborate with a variety of top artists and play at festivals across Europe.

One of the most established festival bands on the circuit with appearances at Glastonbury (West Holt Stage), Womad (Big Top), Jazz Sous Les Pommier (France) to Soundwave (Croatia) and everything in between. Recent UK tour last April/May all across the country.

"Dance Fever was recorded predominately in London over the course of the pandemic in anticipation of the world’s reopening. It conjures up what Florence missed most in the midst of lockdown -clubs, dancing at festivals, being in the whirl of movement and togetherness -and the hope of reunions to come. It’s the album that brings back the very best of Florence – the festival headlining Boudicca, wielding anthems like a flaming sword.
Just before the pandemic Florence had become fascinated by choreomania, a Renaissance phenomenon in which groups of people - sometimes thousands - danced wildly to the point of exhaustion, collapse and death. The imagery resonated with Florence, who had been touring nonstop for more than a decade, and in lockdown felt oddly prescient.
The image and concept of dance, and choreomania, remained central as Florence wove her own experiences of dance - a discipline she turned to in the early days of sobriety - with the folkloric elements of a moral panic from the Middle Ages. In recent times of torpor and confinement, dance offered propulsion, energy and a way of looking at music more choreographically."

"Shut Him Down” was the third song written by Michael Leonhart & Elvis Costello during the 2020 quarantine. The first two, “Radio Is Everything” and "Newspaper Pane”—both of which were produced by Leonhart —appeared on Elvis’ 2020 solo album, Hey Clockface.
Michael and Elvis first met in 2007 at the Molde Festival in Norway, where Costello and the late Allen Toussaint shared a double bill with Steely Dan, with whom Leonhart has played since ’96. The two kept in touch over the ensuing years, including joining forces in 2015 for an Elvis Costello & The Imposters/Steely Dan tour. Early on in the quarantine, Leonhart sent Costello some instrumental music in need of lyrics. Costello states “Michael sent this music to me from New York at the perfect time.” After finishing the first two songs, Leonhart asked Costello to sing over an original heavy Afrobeat song he had been recording with his Michael Leonhart Orchestra during lockdown. Costello crafted lyrics that exist at the crossroads of political commentary and existential contemplation. Leonhart then asked NY rapper, JSWISS to write a verse building off Elvis’ lyrics and the drums grooves of Nick Movshon and Homer Steinweiss. Antibalas guitarist Luke O'Malley then came on board to write and record additional guitar parts.

Side A ends with a fiery bass clarinet solo from Chris Potter, while side B features an extended tenor sax solo from acclaimed saxophonist Joshua Redman.

"Shut Him Down" was first released in March 2022 on The Michael Leonhart Orchestra album, The Norymn Suites (Sunnyside Records) and now becomes available as a limited edition 7” b/w instrumental through Mighty Eye Records in partnership with Fat Beats.

Serious Beats Classics releases Robbie Tronco's legendary house track "Fright Train" on vinyl, now featuring a brand new remix by none other than DJ Ghost.

"Fright Train" was originally released in 1998 and has since become a true classic in the house scene. With its signature beat and rousing synths, the song revolutionized the clubs at the time and is still played by DJs around the globe to date.

With DJ Ghost's new remix, "Fright Train" gets a modern update while keeping the essence of the original, ready to rumble festival stages. Known for his catchy and energetic productions, the Belgian DJ and producer has once again proven why he belongs to the top.

The release of this new version of "Fright Train" is sure to send a wave of nostalgia among the older generation of house lovers, while also appealing to a new generation unfamiliar with the original.

Hawkins wurde für ihr Platin-ausgezeichnetes Debütalbum ”Tongues and Tails” und dessen kultige Leadsingle ”Damn I Wish I Was Your Lover” für einen Grammy nominiert. Ihr Erfolgshit ”As I Lay Me Down”
brach alle Rekorde der amerikanischen Musikgeschichte als am längsten gelistete Hit-Single in den BillboardCharts. Sophies siebtes Album ”Free Myself” ist geprägt von Hawkins’ rauen und doch poetischen Texten und ihrer unverwechselbaren, fesselnden Stimme.

Eine Sammlung einiger der besten Live-Auftritte von Michel Petrucciani beim Montreux Jazz Festival! Der Ton wurde professionell restauriert und in erstklassigem HD-Audio neu gemastert.
"Michel Petrucciani: The Montreux Years" erscheint auf hochwertigem, audiophilem, schwerem Vinyl, auf CD in MQA-Qualität
und in HD-Digital. Die Veröffentlichung enthält brandneue Linernotes und seltene Fotos von seinen Montreux-Shows.

John Eliot Gardiner feiert am 20. April 2023 seinen 80. Geburtstag. Parallel zu der 64-CD umfassenden Box werden zudem noch zwei bedeutende Alben auf Vinyl veröffentlicht: Händels Wassermusik und Purcells King Arthur.

Als dieses Album 1980 mit Händels Wassermusik aufgenommen wurde, war das Ensemble English Baroque Soloists erst zwei Jahre zuvor gegründet worden.
John Eliot Gardiner hatte 1964 zunächst den Monteverdi-Chor und 1968 das Monteverdi-Orchester gegründet, das auf modernen Instrumenten spielte.
In den späten 1970er Jahren wechselte das Orchester zu historischen
Instrumenten und wurde zu den English Baroque Soloists.

Das erste Konzert unter dem neuen Namen fand 1977 bei den Innsbrucker Festwochen für Alte Musik statt. Die Wassermusik-Suiten sind eine der ersten Aufnahmen der English Baroque Soloists. Gardiners Ästhetik bestand aus Genauigkeit, instrumentaler Perfektion, Intonation und Dynamik - es ging darum, alle Vorurteile, die es damals über den Barock geben konnte, abzubauen

Summer 2021.Ollie Rant & Peaky Beats have joined forces to bring you 4 hard hitting club ready ukg heaters straight from the PBR studio. Uplifting energetic chord chop filled, wub infused, 2 step come 4x4 bangers to get your ready for the fast approaching festival season.

A four track full colour special edition vinyl from Mella Dee.

The lead ‘Riptide’, features original vocals from synth-pop trailblazer and founder of New Order/Joy Division Bernard Sumner. A slice of euphoria streaked with melancholy,

'Big Eff Off Groove' was the first track of the EP to be released as a single, following on it's massive Summer of 2022 where it garnered support across some of the biggest festival stages and clubs internationally. Mella Dee speaking on the record describes it as “Exactly what it says, heavy hitting no frills groove, complete with full on dubbed out effects. Enjoy.”!

Followed up with two cuts of rolling house music on track 'Find Love Yourself', the 'Deeper Love Mix' explores Mella Dee’s affinity for the murkier corners of dance music, whilst the original mix is a deep-in-the-dance groover paired with a haunting Little Dragon vocal sample.

Matador makes his debut appearance on Crosstown Rebels with his absorbing new EP ‘My Yellow Coat’, accompanied a remix from NYC house and techno favourite Levon Vincent.

An outstandingly technical live artist, DJ and producer, Matador, real name Gavin Lynch, has a prolific discography with releases on renowned labels such as Minus, Hot Creations, and Cocoon. A resident at Richie Hawtin’s iconic ENTER series in Ibiza, the past decade has seen the Irish talent tour the globe consistently with performances at some of the world’s most prestigious festivals and clubs, including Awakenings, TimeWarp, and Neopop, while featuring in Resident Advisor’s ‘Tip 20 Live Acts’ on three separate occasions. ‘My Yellow Coat’ marks his first appearance on Damian Lazarus’ Crosstown Rebels, describing the debut as “a result all round” with the imprint featuring as a personal favourite of his over the years.

The EP features two original tracks, ‘My Yellow Coat’ and ‘What You Say Is So’, showcasing a dynamic approach to electronic music with a deep dive into rich beds of emotive and spellbinding tones. Title track ‘My Yellow Coat’ is a slow-blooming and delightfully suspenseful production guided by the track’s charming vocals as soft synth melodies and refined percussion build gracefully across its eight-minute duration. . Novel Sound boss Levon Vincent’s dynamic interpretation of the title cut welcomes a new side to his expansive sound, building on his distinctive sound palette and welcoming a shift towards faster realms.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Nach der Veröffentlichung der 2CD-Version des Albums Moonage Daydream im letzten Jahr, wird der Soundtrack nun am 31. März als 3LP Vinyl veröffentlicht.

"Moonage Daydream" beleuchtet das Leben und Genie von David Bowie, einem der produktivsten und einflussreichsten Künstler der jüngeren Musikgeschichte.
Auf Spielfilmlänge nimmt uns Brett Morgen mit in die Welt Bowies, erforscht anhand von großartigem, vielfältigem und nie zuvor gesehenem Filmmaterial, Live-Auftritten und Musik (Morgen sichtete vier Jahre die Archive des David Bowie Estates) seine kreative, musikalische und spirituelle Reise.
Durch den Film führt uns dabei die Erzählerstimme von David Bowie selbst.
Das Begleitalbum zu "Moonage Dream" enthält Songs aus Bowies gesamter Karriere, darunter bisher ungehörtes Material, speziell für den Film und dieses Album angefertigte Mixe und Gesprächspassagen Bowies.

Zu den Highlights des Tracklistings zählen ein bisher unveröffentlichtes Live-Medley von "The Jean Genie / Love Me Do / The Jean Genie", aufgenommen beim berühmt-berüchtigten letzten Ziggy-Stardust-Konzert im Londoner Hammersmith Odeon 1973 und mit Jeff Beck an der Gitarre. Weitere Raritäten sind eine frühe Version
des Hunky-Dory-Favoriten "Quicksand" und eine bisher unveröffentlichte Live-Version von "Rock 'n' Roll With Me", mitgeschnitten bei der legendären "Soul Tour" 1974.

ShitKid is the project of 24-year- old Åsa Söderqvist who made her debut last spring with a self-titled debut EP, which quickly propelled her into being one of the most talked about new acts in Sweden. The three-track ShitKid EP was released via the Stockholm based label PNKSLM Recordings in the spring of 2016 to great acclaim, reaching far beyond its lo-fi confines to find fans at the likes of The FADER, Pigeons & Planes and SPIN internationally, while her debut single "Oh Please Be A Cocky Cool Kid" appeared on national TV in Sweden the morning after it was released. An expanded version of the debut EP was released in the summer of 2016, which saw ShitKid playing several Swedish festivals before making her debut international appearances in the fall, alternating between playing to full houses in London and monthly shows in her new hometown Stockholm. Now ShitKid is ready to announce her long-awaited debut lp - titled "Fish" it's due for release on June 2 via PNKSLM Recordings on vinyl, cd and digitally. Recorded during the same sessions as "EP 2"it's another step on ShitKid's musical journey - offering up a sound that's clearer than the lo-fi murkiness of the debut EP but still very much the opposite to the slick pop dominating the musical landscape today. ShitKid will be doing select festival shows during the spring, leading up to a UK and EU tour around The Great Escape ahead of the album before spending the summer on the road with slots at ex Roskilde Festival announced already, with a lot more UK and EU dates TBA. Fish is written, recorded, performed and produced by Åsa Söderqvist and mixed by Simon Skeleton.

The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.

Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.

Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.

The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).

The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.

Requiem for Jazz is a 12-movement suite composed and arranged by Angel Bat Dawid, inspired in part by dialogue from Edward O. Bland’s 1959 film “The Cry of Jazz.”

The original form of the music was premiered at the 2019 edition of the Hyde Park Jazz Festival in Chicago, where Angel conducted a multigenerational fifteen-piece instrumental ensemble (all Black musicians from Chicago’s creative music community) alongside a four- person choir (featuring singers from Black Monument Ensemble), dancers, and visual artists in performance.

Angel mixed and post-produced recordings from the performance – adding interludes, vocals and additional sounds, as well as transcribing a piece from “The Cry of Jazz” film. The final movement of Requiem for Jazz features Marshall Allen and Knoel Scott of the Sun Ra Arkestra. Their contributions were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.

The final Requiem for Jazz work in album form is an immersive 24-track, double LP experience. The physical package is a deluxe, heavyweight gatefold jacket with liner notes by South African writer Nombuso Mathibela, artwork by Damon Locks, and a large fold out poster designed by Jeremiah Chiu, featuring poetry written by Angel Bat Dawid in dedication to all of her collaborators on the project. Additionally, there is a limited Thy Kingdom Come purple color vinyl edition of Requiem for Jazz available for the first pressing only.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom. Roach was late to music, releasing her first LP ‘Memories of the future’ after a decade of motherhood and studying at college.

The second LP ‘ Revolution of Mind’, released October 2018, again produced by James Skelly, continued the fine work laid out on her 2016 debut. Announced in the top 10 albums of 2018 by BBCRadio6 Music, the record was one of the runaway indie successes of the year. In 2019 the band completed a sold out UK tour and played a string of UK festivals including main stage performances at Glastonbury and Blue Dot among others. In 2020 the band played virtual gigs to help raise money for Greenpeace and the Music Venue Trust among others and look forward to a proper return to live music.

The axolotl is a species of salamander native to Mexico, living in a state of larva and having the capacity to regenerate damaged organs. This brief introduction doesn’t tell us if the axolotl sings. But, for the one that concerns us here: yes indeed.

In Paris, at the end of the 1970s, Etienne Brunet and Marc Dufourd would improvise regularly, inspired by some other saxophone-guitar duos: Claude Bernard-Raymond Boni firstly, then Evan Parker-Derek Bailey. When Jacques Oger (a saxophonist whom Brunet had met at a workshop given by Steve Lacy at the Châteauvallon festival in 1977) joined the duo Brunet-Dufourd, Axolotl was born.

Iconoclastic, the trio was bound to please Jac Berrocal, and he proposed to record their first album on the label ‘D’avantage’. In spring 1981 three days were just enough for Oger (tenor and barytone saxophones), Brunet (alto saxophone, bass clarinet and ‘things’) and Dufourd (electric guitar) to complete Axolotl, the first album by a group which would record ... two.

If there was a collective of iconoclasts, the trio would be there with some relatives: Alterations, Fred Frith, John Zorn, the ROVA Saxophone Quartet... and then because we mention a collective, Axolotl steps (considerably) beyond the domain of free improvisation to lean towards jazz (“Illusion”, “Paris, froissé”), No Wave (“Ombre pilée”, “Trottoirs défunts”), contemporary (“Oreiller”, “D’autres seuls”), and even what we could call ... acid fun (“Dehors”).

Above all, Axolotl wanted to really get to grips with sound via an expression as direct as it was liberating, as can be heard on “Ozone, flocon, torsion”, producing a noise that, even today pierces the brain. All we can hope is that now, thanks to this wonderful reissue, listeners will be able, like the axolotl, of regeneration.

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum