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Fourth Wave's latest compilation feels like a musical postcard from Japan's vibrant underground, gliding through genres with effortless charm. Mari Nakamoto's 'Day Dreaming' sets a tranquil mood with her airy vocals drifting over soft, dreamy instrumentals. Yudai Suzuki's 'Midnight Calling' brings smoky sax riffs and laid-back grooves, perfect for late-night introspection. Yasuhiro Abe's 'Night Fish' dives into psychedelic waters, swirling with hypnotic melodies and unpredictable rhythms. Maki Asakawa's 'Kohi Hitotsu' radiates raw emotion, her voice rich with longing. Yuji Ozeki's 'Futaribun No Yume' blends traditional Japanese sounds with modern electronics, crafting a sound both timeless and futuristic. Jin Kirigaya's 'Matenro Monogatari' closes the collection with cinematic depth, its sweeping arrangement lingering long after the final note.

R.M.K returns to NECHTO with his latest release, ‘NECH028’, following his previous solo record ‘NECH021’, his features on the label's VAs and numerous label event appearances. Hailing from London, R.M.K, the alias of Fossil Archive label head Roberto, brings a unique, evolving take on his sound. With over 20 years of experience, he has performed at iconic venues like Berghain, Tresor, and fabric, and collaborated with artists such as Trevino, Jamie Anderson, and Goldie.
‘NECH028’ marks a new chapter in R.M.K’s artistic growth, with the EP taking over a year to complete. The release includes four vinyl tracks, plus an additional digital-only track. R.M.K notes that while each track has its own distinct style, they collectively tell a cohesive story. He also
acknowledges the role of Nastia in pushing him to deliver the best possible quality, and he takes great pride in the result.
This release reflects the evolution of R.M.K’s sound, demonstrating his dedication to refining his craft and offering a compelling narrative through techno.

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

Wavering through feverish nets of mild notes with no real sun. A disorganised yet precisely paced collection of sounds summoning the gloomy B-side of summers calling. A moment to sit in the frantic underworld of embraced chaos. Clemency. A figure head for embracing off-kilter interpretations of night time music. A real life ‘Angel of the North’.

AIRD is pleased to welcome Clemency to the series.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records. The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. While he was not able to work with Scratch Acid directly through Touch and Go, Rusk had begun booking shows with Scratch Acid in Detroit, so he could see them live and meet them. A friendship formed, and Touch and Go Records would eventually release the band's second EP, Berserker, in 1987.

A quintessential, timeless piece of death metal
In 1997, long-running Polish death metal act VADER - currently celebrating their 40th anniversary - made an important step towards international recognition by releasing “Black To The Blind”, their third studio album, which includes live staples like ‘Carnal’ or the savage title track. Honed from playing way over 250 concerts in the mid 90’s and sharing stage with Cannibal Corpse, Immolation, Morbid Angel, the quartet became true road dogs with a dedicated following up until today and perfected their intense and catchy, Slayer-meets-Morbid-Angel on steroids brand of death metal. “Black To The Blind” has been remastered and features an updated layout as well as the original cover art. A quintessential, timeless piece of death metal!

,Siamo tutti in pericolo" ist das dritte Album von Golem Mecanique, dem Pseudonym der französischen Multiinstrumentalistin und Komponistin Karen Jebane, das auf Ideologic Organ veröffentlicht wird. Jebane arbeitet am Rande des zeitgenössischen Folk (aka La Novea Community), des mikrotonalen Sounds und der frühen Moderne, berührt aber auch die Asche und die Fasern des Back Metal und die DNA der Gothic-Musik, der Literatur, der Zauberei und vor allem der Poesie. Jebanes Arbeit mit der Drone Box (einer mechanisierten Drehleier) und der Zither als glatte und wellige Oberfläche für ihren Gesang ist auf fast zeremonielle Weise sofort ersichtlich und lädt in einen Raum von klarer, dunkler Kreativität und Schönheit ein. Auf ,Siamo tutti in pericolo" arbeitet Jebane mit ihren Kompositionsformen auf neue Art und Weise, poetisch und sparsam in der Ausführung ihrer Techniken, durch ihre Hommage/Hymnen/Meditationen über die höchst unregelmäßigen Umstände und Fragen/Mysterien des Vergehens der Seele von Meisterkünstler Pier Paolo Pasolini. In perfekter Kombination mit dem Coverbild des Collagekünstlers Julien Langendorff präsentiert ,Siamo tutti in pericolo" Jebanes ,Golem Mecanique" in Reinkultur. -Stephen O'Malley, Brion, Frankreich, 1. September 2024

Motown producer and songwriter Norman Whitfield assembled The Undisputed Truth to further explore the psychedelic soul he had been developing with the Temptations on songs like ‘Cloud Nine’ and ‘Psychedelic Shack’.

Joe Harris, Billie Calvin and Brenda Evans were assembled as the vocal front-line and their first single was ‘Save My Love For A Rainy Day’/’Since I’ve Lost You’ that was released on Gordy in February 1971 and got to #43 on the R&B Chart.

It was followed by ‘Smiling Faces Sometimes’/’You Got The Love I Need’ that was a massive hit single getting to #2 R&B and #3 on the Billboard Hot 100. Their debut album The Undisputed Truth followed and not only contained all four tracks issued on 7” but an almost interstellar version of ‘Ball Of Confusion (That’s What The World Is Today)’, ‘I Heard It Through The Grapevine’ as well as a very soulful prowl through Bob Dylan’s ‘Like a Rolling Stone’. Tracks like ‘California Soul’ and ‘Aquarius’ also ticked the psychedelic soul box. All told it was a fantastic debut and sold strongly.

Amazingly this fantastic album has not been repressed since 1972. Thus Ace are delighted to put it back into the record racks pressed on 180gm black vinyl.

Bowie’s connection to Jacques Brel came through Scott Walker and the 1968 musical.

Der Detroiter Produzent Dave Hamilton ist heute für seine Produktionen auf Platten von Künstlern wie Little Ann und OC Tolbert bekannt, aber ursprünglich war er Gitarrist, dazu ein frühes Mitglied der Motown-Hausband, und veröffentlichte während seiner gesamten Karriere weiterhin Platten. 'The Deacons' und 'Pisces Pace' kamen 1970 auf seinem Label TCB heraus und dies ist eine Reproduktion der äußerst seltenen Originalveröffentlichung.

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

A long standing resident of the infamous FOLD in London whose risen to prominence with electrifying performances across Europe and a growing discography on esteemed labels such as Ear To Ground, Natural Selection, Raw Quarter, Laburnum, and Mhost Likely , Andromeda unveils her debut on Rant & Rave with Dark Matter EP. Drawing inspiration from the raw essence of 90s techno, with it she hones in her skills with modular synthesis and hardware production.


The EP opens with the title track, where a brooding tapestry of foreboding synths gradually rise in pitch and complexity, simulating the mysterious expansion of the cosmos. Lost Planet follows with hypnotic leads and an unyielding rhythm section. Appropriately titled Black Hole follows which cuts through with razor-sharp stabs and a resonating bassline. Closing with El Abismo, Andromeda ventures into darker sonic territories. This track is a no holds barred assault, where interwoven synth lines clash against commanding percussion and a punishing kick, asserting dominance over the dance floor with commanding force.


As a digital bonus, Andromeda invites Severn Electronics label owner, 7XINS, who delivers an outstanding remix of Black Hole. With his signature sound, 7XINS layers complex synth textures and reverberated drum patterns that twist the mind and tease the senses, crafting a remix that is as intricate as it is impactful.

Reissue of this italo classic from 1986. Comes with Flemming Dalum and DSTRTD SGNL remix.

Roger Waters is set to release a Super Deluxe Boxset of The Dark Side Of The Moon Redux on Friday, March 14, 2025, with special live versions of the iconic songs from Roger’s appearances at The London Palladium on October 8 & 9, 2023.

The Super Deluxe Boxset includes: • The Dark Side Of The Moon Redux on Gold Vinyl (2LP), CD, Blu-ray: Dolby Atmos Mix, 96/24 Audio. • The Dark Side Of The Moon Redux Live on Gold Vinyl, CD, Blu-ray: 96/24 Audio. • Roger Waters Track by Track video interview. • A 4 x 10-inch Vinyl from the original Redux album cut at 45 RPM for: Money, Time, Speak To Me / Breathe and Us & Them, each with an artwork etched B-side. • A 40-page Commemorative Book of Photographs from The Making of the Album, Rehearsals, and Roger Waters Redux Live at The London Palladium. • Hand numbered Certificate of Authenticity. Limited Edition of 3000 copies

Waters Quote: “All that is gone, all that’s to come? Looking back or looking forward, Dark Side of the Moon offers you choice. The choice is yours. Darkness or the Light”.

Die aus Koblenz stammenden CURSE OF KHATRU sind weder Kumpel-Death-Metal noch vermummter Okkultismus oder was auch immer für eine "metallische" Modeerscheinung... Sie stehen für authentische Musik in der Tradition von Bands wie Death, Morbid Angel, Pungent Stench und Grave. "Unser Debütalbum klingt nach der Art von Death Metal, die wir mögen: entfesselt, aggressiv und songorientiert." 11 mega-eingängige Songs + Intro, technisch auf höchstem Niveau, werden den Hörer akustisch umhauen. Versprochen. Das selbstbetitelte Album wurde zwischen Oktober 2023 und Februar 2024 von Jörg Uken in den Soundlodge Studios Rhauderfehn (Keitzer, Maat etc.) aufgenommen. Das Cover-Artwork stammt von Noah Zark.

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

HET VERMOEDEN - anders dan de titel zou vermoeden - is concreter dan mijn cryptische debuutalbum. Bij momenten ook ernstiger. Met liedjes over moeilijke mannen, andere vrouwen, broers, dochters en vaders. Liedjes over op reis gaan, settelen en middagdutjes.

Het is bovenal een eerbetoon aan de mensen rondom. Buren, vrienden en familieleden. HET VERMOEDEN is een intiem album geworden, recht uit het hart. Dichterbij ga je als luisteraar voorlopig niet komen...

Ik ben benieuwd naar wat ons mensen drijft. Wat er omgaat in onze hoofdenen onze harten. Ik tast vermoedens af, maar de hele waarheid krijg ik natuurlijk niet te pakken. Het is hoogstens een rake benadering.

HET VERMOEDEN was in zekere zin al af voordat ik eraan begon. Ik had het geluk om tijdens het schrijfproces de nummers al live op mijn gitaar te kunnen uitproberen. Nummers waarvan ik vermoedde: dit gaat iets worden.

Ik ging dus de opnamestudio in met een reeks uitgewerkte en doorleefde liedjes, die ik vervolgens live inspeelde met bassist Dries Laheye en drummer Simon Segers. Producer en mixer Frederik Segers waakte over de eenheid in sfeer en klank. Hij leverde prachtig werk af; het album klinkt buitengewoon warm en tijdloos.

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

Von seiner Arbeit in der explosiven frühen Hollywood-Punk-Musikszene mit seiner Band The Plugz über das Produzieren von Bands wie The Gun Club bis hin zur Filmmusik, seiner beachtlichen Schauspielkarriere und der Gründung von Fatima Records - Tito Larriva verdient den Titel, den ihm die LA Times einst verliehen hat, durch und durch: "Renaissance Man".

The Plugz, 1978 in Los Angeles von Tito Larriva gegründet, waren inspirierend für die frühe Latino/Latinx-Punk-Gemeinschaft und ihr "West Coast Punk" hatte einen anhaltenden Einfluss auf ganze Generationen von Rockbands.
Kenner der Latino-Kultur würdigten die Band für ihre unkonventionelle Version von "La Bamba" und ihren Einfluss auf die Chicano/Xicanx-Rocker in Südkalifornien.

Mit "Hombre Secreto", einer spanischen Version des 60er-Jahre-Klassikers "Secret Agent Man", brachte Larriva seine einzigartige Handschrift in die Filmmusik des Kult-Klassikers "Repo Man" ein. Seine Karriere ging von hier aus kontinuierlich und vielfältig weiter; zu den wichtigsten Etappen zählen seine Arbeit als Produzent des Cast-Albums der "Pee-Wee Herman Show" und des Debüts "Fire of Love" von The Gun Club, sein Einsatz als Schauspieler in David Byrnes "True Stories" und die von ihm 1984 gegründeten The Cruzados. 1992 entwickelte sich aus The Cruzados die Band Tito & Tarantula, mit der Larrivas intensive Arbeitsbeziehung zu Robert Rodriguez und Quentin Tarantino begann. Er spielte in einem halben Dutzend ihrer Filme mit, unter anderem auch in "From Dusk Till Dawn", wo sein Song "After Dark" und sein musikalischer Auftritt im legendären "Titty Twister Club" eine legendäre Rolle spielt.

Nun veröffentlichen Tito & Tarantula ihr mit Spannung erwartetes Album "!Brincamos!". Das neue Werk ist eine Soundreise, die die Tiefen der menschlichen Seele erforscht, durchsetzt von der rohen Kraft des Rock und dem reichen Erbe des Latino/Latinx-Punkrock. Jeder Track ist ein Beweis für die Fähigkeit Larrivas, Grenzen, Genres und Sprache zu überwinden und einen Sound zu kreieren, der bei Fans auf der ganzen Welt Anklang findet. Mit rohen Balladen und emotionalen Rock-Hymnen ist Larriva mit "!Brincamos!" ein musikalisches Meisterwerk gelungen, das die Geschichte von Tito & Tarantula mehr als würdig fortschreibt.

Neben der Veröffentlichung dieses Albums bereiten sich Tito & Tarantula derzeit auf ihre "!Brincamos!"-Europatournee vor, um ihre berüchtigten Live-Performances auf die Bühnen des europäischen Kontinents zu bringen. Die Fans werden eine Verschmelzung von Rock'n'Roll und cineastischen Welten erleben und Teil unvergesslicher Konzerte sein. Mit Titos intensivem Gesang und der unvergleichlichen Bühnenpräsenz der Band schickt diese Tournee sich an, eines der großen Highlights des Jahres für Musik-Enthusiasten zu werden.

Mit der Veröffentlichung von "!Brincamos!" und dem Beginn ihrer Europatournee im März 2025 laden Tito & Tarantula alte und neue Fans ein, sie auf dieser aufregenden Reise zu begleiten. Die Musik dieser Band ist ein Zeugnis für die Energie des Rock und den vereinenden, kulturellen Stolz der Latinos.

"!Brincamos!" erscheint am 14.03.2025 als Vinyl (aufgrund der Spiellänge des Albums fallen 2 Live Tracks weg), limitierte Vinyl mit einer separaten 10" incl. der Livetracks, CD und digital auf allen gängigen Streaming Plattformen

In between the Golden Earring albums 'Seven Tears' and 'Together', both guitarist George Kooymans and singer Barry Hay worked on solo material. Kooymans’ album 'Jojo' was released in December 1971 and was the result of a sparkling and short period of recording sessions at the Phonogram Studio in Hilversum, where he recorded a collection of songs with some of the best Dutch session musicians – among guitarists Eelco Gelling (Cuby + Blizzards) and Hans Hollestelle and saxophone player Bertus Borgers (Sweet d’Buster). Thanks to the spontaneous recordings, the personal lyrics - with help from George’s friends Bruce Kirkman and Jerry Voisin - and Harry van Hoof’s string arrangements, 'Jojo' achieved a cult status and became a collectors' item soon after release.

The album has been remastered from the original Phonogram Studio master tapes and includes a recent interview with George Kooymans about the making of 'Jojo'.

'Jojo' is available as a limited numbered edition of 750 copies on light green coloured vinyl and includes an insert.

WHO IS ULTAN O’BRIEN? Ultan O’Brien is a fiddle player and composer from the wilds of County Clare in the West of Ireland. Ultan is a performer as well as a regular at sessions all of Ireland and can be found by chance in any pub in Dublin, Cork or some remote village on the edge of nowhere, flying jigs and reels around the room. Ultan was reared in the rich tradition of Irish music which is so commonly found and heard in Co Clare, but he also delves deep into sound art and experimental music. He has often been heard in the back of a car after a few pints quoting lines from Alvin Lucier or speaking at length about improvisation and its place in modern Irish music. Ultan O’Brien is a fresh and vital player who has much to offer with his unique approach and technique to a tradition so old and ever ready for a subtle change every 100 years or so. Ultan has played and recorded with people and bands such as Skipper’s Alley, Eoghan Ó Ceannabháin, John Francis Flynn, Slow Moving Clouds, Cuar, Laura Jurd, Martin Green, Natalia Beylis, Paul Roe and Nic Gareiss. ‘in its Ultan’s fiddle playing sincerity of tone it reminds me somewhat of those great caoineadh which were played with such elusive grandeur by Denis Murphy and Pádraig O’Keefe’ Adrian Scahill ‘lets the heart brighten and the feet tap’ Richard Hollingum -KlofMag


ABOUT THIS WONDERFUL ALBUM: ‘This album, Dancing the Line, is my first solo album of music played on an alternatively-tune alto fiddle. I found that the resonance and growl of this lower tuned instrument sat me perfectly into the sound-world I wanted to be in, giving vibrancy to my own compositions and nestling into the traditional music I grew up with.’

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

Chaotic Shimmer is a collection of songs that vary in texture and genesis. The A side has a stronger sense of familiarity with the more rocking numbers, while the B side stretches out in more exploration. Some of the same electronic elements of 2024's Black Holes Don't Choke can be found in songs like "Music For The People" and "Caught Waiting". There is also a subtle nod to Minor Threat in the lyrics of "Caught Waiting". The track "Path I'd Like to Follow" is dreamy and meditative - channeling JJ Cale or late sixties San Francisco fog. The opening track is a rocket ship waiting to escape the dull confines of this singular consciousness, and it creates a space for the title track to transcend at will. All of the songs were recorded by Charles Moothart at his studio in Los Angeles. He wrote, performed, recorded, and mixed everything heard on this album. Reserving the right to do as thou wilt is rock and roll 101. The world is chaos, and chaos is creativity. To accept and embrace this is to tap in to the Chaotic Shimmer - a transcendent energy. Music is for the people. Charles Moothart is a multi-instrumentalist based in Los Angeles. He plays guitar in bands like FUZZ and Primitive Ring, as well as drums in GØGGS and Moonhearts. He was the touring drummer for Ty Segall's Freedom Band, as well as the Ty Segall and White Fence collaborative tours. Moothart has also released solo work under his initials CFM.

On her forthcoming record, Rose Cousins holds our hands as she guides us on a journey through the "conditions of love." Ever the emotional explorer, the acclaimed, Nova-Scotia-based folk artist seeks truth, in all its imperfection, in the depths of our most complicated of emotions: love. Co-produced with trusted friend and longtime bandmate Joshua Van Tassel, this new collection of songs sees Rose return to her first love, the piano. “Piano is where I feel the most connected. It’s the best partner in expressing the emotion I’m mining,” she shares. Rose’s work as garnered her two JUNO Awards (2013’s We Have Made a Spark & 2021’s Bravado), two Canadian Folk Music Awards, eleven East Coast Music Awards and one Grammy nomination (2018’s Natural Conclusion), along with praise from the likes of the CBC, No Depression, LA Times, Billboard, Folk Alley, and NPR, who raved “Cousins’ disarmingly fluid vocal tone has the ability to convey the most internalized feelings without an ounce of fuss.” Over the years, she has shared stages with Patty Griffin, Mary Chapin Carpenter, Jann Arden, Bruce Cockburn, Josh Ritter, Kathleen Edwards, Joe Henry, Aoife O’Donovan and Anais Mitchell, and her music has fittingly underscored scenes from notable TV shows including Grey’s Anatomy, Fire Country, Station 19, and Batwoman, along with several independent films.

A 1985 live performance from the Velvet Underground’s cult icon!

Nico’s doom-laden contralto voice, the bizarre choice of a harmonium for accompaniment, and the sheer eeriness and other-worldliness of her repertoire mark Nico as one of the most extraordinarily original performers of the rock era.

Sun Ra was a master of misdirection. Tape boxes wrongly labeled—whether by accident or design—are legendary among Ra archivists. One can speculate about the artist's intent or carelessness, but source misinformation abounds on Ra tape cases, album jackets, cassettes, ephemera—as well as in interviews. It's as if Ra, in furtherance of his own mythmaking, wanted to keep historians guessing.

This project began as a misidentified tape discovered by Michael D. Anderson of the Sun Ra Music Archive. The 7-inch reel, which contained a live Ra solo piano performance of 11 works—some recognizable, others not—was of stellar quality, and was marked as a 1979 Carnegie Hall date. But the program on the tape did not align with known facts (e.g., titles played, concert duration) which were chronicled in a Newsday review of Ra's appearance at Carnegie in September of that year. With a prod from writer/historian Ted Gioia and further research by myself, the tape was eventually identified as a mostly unreleased July 1977 performance by Ra at a downtown NYC "jazz café" called The Axis-in-Soho.

Fourth Page: Meaning of a Nest is the highly anticipated fourth studio album, and second with Edition Records, by renowned South Korean/ Amsterdam based drummer and visionary composer Sun-Mi Hong solidifying Hong’s position as one of the most inventive and creative drummers and musicians of her generation. Meaning of a Nest, embodies the album’s exploration of home and community, reflecting Hong’s decade-long journey from South Korea to Amsterdam and her efforts to build new networks and establish roots in a vibrant new environment.

Musically, Fourth Page: Meaning of a Nest offers an inventive and spacious soundscape, seamlessly blending meticulously crafted compositions with elements of improvisation. This fusion ensures each track resonates with authenticity and emotional depth. Hong’s unique approach grants her band members creative freedom within her structured frameworks, resulting in adynamic and genuine listening experience. Fourth Page: Meaning of a Nest stands as a testament to Sun-Mi Hong’s artistic evolution and unwavering commitment to artistic integrity, positioning her as a formidable presence in the European music scene and beyond.

The debut recording from one of jazz music's most revered pianists! First U.S. vinyl release!

All-analog remastering by Bernie Grundman.
"Byard is absolutely brilliant...highly recommended." - All Music

Originally recorded in 1960, briefly released in Japan in the early ’70s, it wasn’t until 1988 that Jaki Byard’s solo debut, Blues For Smoke, was widely released. Even then it was more of a secret handshake among fans than the catalog cornerstone it should have always been. Now, Candid has finally created the definitive edition of this lost masterpiece for all to experience.

Byard backed generations of jazz icons, including Charles Mingus, Art Blakey, Roland Kirk, and Quincy Jones.

As a bandleader and soloist, he went on to build his own catalog of iconic recordings across three decades while establishing himself as an educator and mentor to the next generation of artists, most notably, Grayson Hugh, Fred Hersch, and Jason Moran. Blues For Smoke is where it all began.

Recorded as a solo-piano showcase for Byard’s incredible gifts as a player, composer, and jazz historian, the exquisitely engineered session is given new life by Bernie Grundman’s sensitive remastering. With this release, Candid is hoping to make Jaki Byard’s very first album the rosetta-stone of jazz piano it was intended to be.

Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.

Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!

JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.

Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.

In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,

“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.

An intimate recording from the Blues hall-of-famer that puts you in the room with 3 Blues legends!

Remastered by multiple Grammy winner Michael Graves.

One of Candid’s historic blues releases, Memphis Slim, U.S.A. finds the Blues Hall Of Fame inductee in a rare, relaxed setting with two close friends and fellow blues icons, Jazz Gillum and Arbee Stidham. The intimacy—from their loose interplay and improvisation to the eerie realism of the recording—is palpable and feels more like an invitation to their inner circle than a commercial release.

Grammy-winner Michael Graves’ sensitive remastering brings Memphis Slim, U.S.A. to life, letting listeners in as the piano legend and his buddies offer a musical history of the blues from its Southern juke-joint roots up to its Chicago-style move toward R&B.

Memphis Slim, U.S.A. is an essential document that Candid is proud to bring back to the blues canon.

FIRST TIME EVER ON LP
LIMITED EDITION CLEAR VINYL - ONLY 1000 UNITS PRESSED
COMPACT DISC BACK IN PRINT FOR THE FIRST TIME IN 10 YEARS - Now On 8 Panel Digi-Pak
FINAL SMITHEREENS ALBUM WITH ORIGINAL LEAD SINGER PAT DiNIZIO
PRODUCED BY DON DIXEN (REM, GIN BLOSSOMS, MARSHALL CRENSHAW)

“Crushing chronic chords with the dyne-rhythm section to fuel it all, are not only still here, but stronger than ever”. No Depression

"Everything in Smithereens' world is like a film noir shot in psychedelic colors. But this New Jersey band has a talent for creating fresh variations that prevent dust or mist from clouding their music. "Smithereens 2011" reaches a peak with the song that opens the album, the sour-tempered yet utterly transporting "Sorry.” Ken Tucker, NPR

"Wholly satisfying blast of classic Smithereens songcraft and melodicism, colored with Pat DiNizio’s impassioned vocals, Jim Babjak’s thick-toned, stinging guitar, Dennis Diken’s imaginative, powerful drum work and Severo “The Thrilla” Jornacion’s stylish bass. The entire collection sounds like a return to The Smithereens’ mid-to-late ’80s glory years, both song and performance-wise.” GOLDMINE MAGAZINE

“And 2011’s songs – the songs! – vintage! Picks up where Green Thoughts left off. Pop Dose

K.A (Köhntarkösz Anteria) is the ninth studio album by French rock band Magma. The album was Magma's first full-length studio release in just under 20 years. The material was largely composed by drummer Christian Vander in 1973–74, and fragments of it can be heard on Magma's 1977 live album Inédits. K.A is sung almost entirely in Magma's constructed language Kobaïan. This album is part of the Köhntarkösz cycle of albums. Christian Vander revisited an old unrecorded composition and gave it a very succesfull modern-day reinterpretation Introducing a new group sound that blends the vintage "Da Zeuhl" elements from Magma's Kohntarkosz-era material and the engrossing cosmic jazz and massed vocals of Vander's later group, Offering. The lineup featured here is very similar to the one appearing on the 2001 live CD and DVD Theusz Hamtaakh La Trilogie au Trianon. The album is a must-have for die-hard fans and newcomers alike.

K.A. is now available as a remastered 2LP in a gatefold sleeve. The record is cut at 45rpm for the ultimate audio experience.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Montreal mainstay Sabola (aka Adam Hodgins) brings his intricate sound to Garmo with Útilykt, a six-track odyssey through shadowy IDM textures, fractured techno rhythms, and breakbeat experiments. Spanning a wide range of tempos, the EP evokes the tension between isolation and expanse—its beats heavy with introspection yet reaching outward toward something vast and untamed. Rooted in the sensibilities of early 2000s drum and bass, Útilykt channels the raw energy of that era while weaving it into Sabola’s deeply atmospheric and modern sound.

Words from the label:

Dark moody vocals meet super disco beats: This is what it sounds like when pioneering DJ and producer Jens Mahlstedt invites Saâda Bonaire over to his studio.

Stephanie Lange and Claudia Hossfeld, the original singers of legendary Eighties band Saâda Bonaire, plus founding member Ralph “von” Richthoven are teaming up four decades later for two very special takes on “You Could Be More As You Are”. Out now, exclusively on twelve inch vinyl.

With a much-loved signature sound heavily influenced by many active years in the trance scene, Fernie’s blend of emotive pads and cosmic soundscapes has secured him a discography that spans some of deep techno’s most revered labels. Having releases on the likes of Monument, Khoros, KVLTÖ and Informa Records to name just a few, as well as heading up his own imprint Space Textures, curating the Monument podcast, and co-running the Orbits parties with fellow Glaswegians Deepbass and Repart - Fernie’s passion for the deep techno community resides in the energy he consistently commits to our scene.

The third release in our catalogue comes as a limited edition 140g transparent vinyl with black smoke, pressed in Italy and presented in a matte sleeve with full colour artwork. Celestial is a carefully woven journey that searches and probes, be it the outer reaches of space or the inner depths of oneself. Perfectly blending the themes of space exploration and astrology, the EP opens with a brooding wash of atmospheres and voice samples, before broken rhythms, lush pads and moody ethereal tones carry the voyage through the A Side. The B Side sees the record open up into two tracks perfect for deep immersion on the dance floor, with Unbound offering an atmospheric cruise fit for early morning bliss. And finally, we are humbled to have a remix from deep techno stalwart Ness closing out the EP - a ritualistic stomper that reworks the original atmospheres of Critical Functions into an uptempo dub techno infused gem.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

Pink vinyl. Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

Willkommen in der Welt von Bruce Haack. Nicht nur für Menschen im ,Schulalter".,Ein elektronisch-musikalisch-poetischer Leckerbissen für Grundschüler und Gymnasiasten das weitere Wunder unseres Erdenschiffs offenbart." Bruce Haack war ein kanadischer Komponist und Pionier der elektronischen Musik, dessen kreatives Schaffen von den 1950er bis in die 1970er Jahre unterschätzt wurde. Heute gilt er als seiner Zeit um Jahrzehnte voraus, Bruce Haack schmiedete seine Musik aus glitzernden ,neuen" Computerlandschaften, die er selbst erfand, lange bevor die Welt wusste, dass so etwas überhaupt möglich war. Willkommen in seinem wunderschönen Schmelztiegel elektronischer Klänge, in dem er seines unzähligen Interessen an der Wissenschaft, den Wundern der Kindheit und der menschlichen Verfassung in einen musikalischen Wandteppich verwebt, der wie eine explodierende Sonne schimmert.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Purple Vinyl. "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Hailing from Amsterdam via Barcelona, Will & Ink label head Yaleesa Hall kickstarts Timedance’s 2025 run with a hefty arsenal of sound system artillery, expertly sprinkled with rude UKG and electro-laden pulses

Infused with the perfect dosage of driving grooves and earth-shattering low frequencies, these four big and bad cuts are sure to shake the bodies and eyeballs of bass-weight maniacs, breakbeat explorers, adventurous DJs and dancers alike.

Two new faces on the label with the two-faced eagle! Both artists have been much respected forces on the international club circuit for a while. IDA ENGBERG is best known for her affiliation with Stockholm’s Drumcode and Truesoul labels. For her Speicher debut though, she’s tapping into a quite different sound territory. “Nothing Feels The Same” will go down in history as the first 2 Step track ever released on KOMPAKT EXTRA. It’s as sensual as it’s booming. Definitely one for those late morning hours. With “Pink Monkeys” is an EBM/sawtooth trance amalgamation of the highest order with enough psychedelic headroom for the festival season.

MARCO RESMANN’s deep involvement with the late Berlin club legend Watergate has made him one of the German capital’s beacons of house and techno. He’s one half of Lunar City Express and former member of Pan-Pot which speaks volumes about his stylistical versatility.”“RIMA feat. Laatz” he delivers a frenetic rollercoaster ride of a techno track. It’s radical, it’s menacing and super fun all at once – A truly one of a kind techno track. “Dimensions” is a low-slung electro bulwark full of intricate details to keep head and feet going in unison.
Zwei neue Gesichter auf dem Label mit dem doppelköpfigen Adler! Beide Künstler sind seit einiger Zeit angesehene Größen in der internationalen Clubszene. IDA ENGBERG ist vor allem für ihre Zusammenarbeit mit den Stockholmer Labels Drumcode und Truesoul bekannt. Für ihr Debüt auf Speicher betritt sie jedoch ein ganz anderes Sound-Territorium. „Nothing Feels The Same“ wird als erster 2-Step-Track, der jemals auf KOMPAKT EXTRA veröffentlicht wurde, in die Geschichte eingehen. Es ist ebenso sinnlich wie dröhnend. Definitiv etwas für die späten Morgenstunden. Mit „Pink Monkeys“ ist eine EBM/Sägezahn-Trance-Verschmelzung der höchsten Güteklasse mit genug psychedelischem Headroom für die Festivalsaison entstanden.

MARCO RESMANNs tiefe Verbundenheit mit der jüngst verstorbenen Berliner Clublegende Watergate hat ihn zu einem der Fixpunkte der deutschen Hauptstadt in Sachen House und Techno gemacht und weit darüber hinaus. Er ist eine Hälfte von Lunar City Express und ehemaliges Mitglied von Pan-Pot, was Bände über seine stilistische Vielseitigkeit spricht. Mit „RIMA feat. Laatz“ liefert er eine frenetische Techno-Achterbahnfahrt, die gleichermaßen radikal, bedrohlich ist und ungemein Spaß macht – ein wirklich einzigartiger Track für die Ewigkeit. ‚Dimensions‘ wiederum ist ein tiefgründiges Electro-Bollwerk voller komplexer Details, das Kopf und Füße sicher im Einklang hält.

Discos Martos Launches with Glen Anthony Henry's Soulful 45 Vinyl Single.

Discos Martos, a new division of Rocafort Records, proudly announces its debut release: a 45-vinyl single by soul singer Glen Anthony Henry. Originally from Los Angeles and based in Spain, Henry combines classic soul with modern flair in this exciting project.

The A-side, "Thankful," is an upbeat tribute to love and friendship, featuring a catchy hook and a drum backbeat reminiscent of Al Green. On the B-side, "Fade Away," Glen Anthony Henry showcases his falsetto in a deeper, more introspective track.

Both songs are produced by Oscar Martos, entirely in analog, capturing the essence of 70s soul music with a contemporary twist.

This release marks an exciting beginning for Discos Martos, celebrating soulful sounds for a new generation.

We're excited to announce Discos Martos' second release: a 45-vinyl single from Rocksteady Romantics, celebrating the irresistible sounds of…you guessed it…rocksteady. True to the label's dedication to analog productions, this release offers what Jamaican music culture is known for: Dub music and classic soul covers in its own style.

The A-side features a fantastic dub track featuring Tibstar, designed for loud soundsystems and clubs. With its catchy and powerful horn section, this track is guaranteed to get the dance floor moving.

On the B-side, the band presents a lovely Spanish version of the classic soul tune "I'm Your Puppet," sung by Tito Ramírez. This fresh interpretation blends the original's charm with a rocksteady twist.

With this release, Discos Martos continues to honor timeless sounds while infusing them with contemporary energy.

This new 45 RPM single is the lastest from Pyramid Blue, a group known for their Ethio-jazz fusion.

This time, the Spanish band has teamed up with Habiba Chaouf, an Arab singer rooted in Spain's flamenco scene, who lends her beautiful vocals to the A-side. The song blends Arab melodies with deep afro-funk rhythms. Habiba's soulful vocals elevate the track, which reflects on the emotional journey of longing, uncertainty, and the search for change. "Amal" (meaning "Hope" in Arabic) reminds us of the power of hope as both a guiding light and a source of inner strength, even in the face of doubt and longing.

On the B-side, La Esperanza (Hope), Pyramid Blue delivers a hypnotic, instrumental journey, featuring a bold horn section and a guitar riff that evokes the feeling of crossing a vast desert—an atmospheric, cinematic soundscape that could easily score a film.

Electronic pioneer Sasha links up with Artche for dramatic new single 'Hold On', Artche also provides his own version of the track.

Last Night on Earth founder Sasha sits in his own world after more than 30 years of innovation as a DJ and producer. His meticulously crafted sounds have constantly redefined the underground, and with this label, he has spearheaded the melodic movement with his own music and careful A&R of exceptional contemporary talents. This latest release finds him working again with Newcastle-based producer and vocalist Artche, who has already collaborated to great effect with the likes of Franky Wah and Cristoph on Eric Prydz's Pryda Presents and also released solo on SHÈN Recordings. His mix of deep house and techno has won fans like Pete Tong and Lane B, and he asserts his skills once more here. Says Artche of his return to LNOE.

The fantastic 'Hold On' is a dramatic ride lit up with sweeping, spine-tingling synths. It has a grand architecture and widescreen atmosphere with profound melodies and moody bass rolling down below. Angelic vocal sounds shimmer amongst the epic chords and the whole sophisticated track makes an inescapably emotional impact. The Artche Mix works the drums into airy, dusty broken beats that bring a different vibe while the original vocals and lush synths remain in place and tugging at the heartstrings.

A soothing collection of piano pieces, blending timeless classics from the traditional repertoire with captivating works by today’s leading neo-classical artists. Immerse yourself in a serene soundscape where elegance meets modern simplicity, offering moments of calm and introspection.

This new record from Black Swan evokes a desolate post-collapse world that is detailed with haunting choirs, mangled tapes and distant industrial sounds. The album unfolds like a requiem by pulling beauty from the ruins of a collapsed society. With an hour-long narrative, it shifts between rippling hums and plaintive quivers of old cassettes, slowly revealing a heart that beats beneath the crimson haze. Tracks like 'Overture' and 'Back to Dust' offer cinematic grandeur and mournful exploration, while 'Pseudotruth' and 'New Gods' introduce eerie uncertainty. In the end, the album serves as a haunting meditation on loss, memory and the fragility of civilisation.

Imbued with the spirit of their late uncle, the qawwali master Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali have returned with another deeply accomplished, moving collection of songs that ache with the frenzied anxiety of falling in love and dreamy desire of devotion, At the Feet of the Beloved. Their vocals and arrangements are refined and, together with their party, they build a world that helps the listener connect to another one. Brothers Rizwan and Muazzam Ali Khan are the contemporary torchbearers of the rich Qawwali musical tradition using their extraordinary voices to transport listeners to another, spiritual dimension. Performing together since the late 1990s, Rizwan-Muazzam Qawwali have developed a devoted worldwide following with their exceptional live shows and acclaimed albums, including A Better Destiny and Days of Colour. In great demand with global followers, Rizwan-Muazzam Qawwali have performed at festivals and venues including Barbican London, WOMAD festivals in the UK, Australia and New Zealand, and some of North America’s most prestigious performing arts centres.

Der kanadische Starpianist Jan Lisiecki bringt die vielfältigen Klänge des fantasieartigen Instrumentalwerks
des Präludiums auf seinem neuen Album zum Strahlen und zeigt, dass es weitaus mehr ist als nur ein
Vorspiel zu etwas anderem. Frédéric Chopins außergewöhnliche 24 Préludes op. 28 sind dabei Inspiration
und Ausgangspunkt der vorliegenden Aufnahme. Chopin war laut Lisiecki ein „Meister der Kurzform,“, der
„das Präludium aus dem Schatten ins Rampenlicht“ brachte. Verbunden und kontrastiert werden Chopins
Stücke mit ausgewählten Präludien weiterer Komponisten aus über drei Epochen, die jeweils Höhepunkte
in der Geschichte des Genres markieren - von Bach, Messiaen, Rachmaninoff bis Górecki. Damit möchte
Lisiecki „die vielfältigen Möglichkeiten des bescheidenen Präludiums aufzeigen“ und nimmt „das Publikum
auf eine musikalische Entdeckungsreise“ durch den Kosmos dieser abwechslungsreichen Miniaturen.

Auf Lullaby stellt der norwegische Trompeter Mathias Eick sein frisch eingespieltes Quartett vor und
präsentiert ein Programm, das dessen improvisatorische Qualitäten in den Vordergrund stellt. Mit den
ECM-Vertrauten Kristjan Randalu und Ole Morten Vågan an Klavier und Bass sowie Neuzugang Hans
Hulbækmo am Schlagzeug werden zutiefst melodische Linien erörtert, welche die Musiker elegant zwischen den Harmonien fließen lassen, um gemeinsam aus den Formen heraus Schwung aufzubauen. Eicks
unmittelbar erkennbares, weiches Horn-Timbre steht oft in markanter Gegenüberstellung zu Randalus abwechselnd lyrischen und ausladenden Tastenerkundungen, die sich über eine treibende, immer einnehmende
Rhythmusgruppe erheben. Das Album wurde im Rainbow Studio in Oslo aufgenommen.

Julia Hülsmann erweitert ihr Quartett mit einer frischen norwegischen Stimme am Horn und präsentiert
ein Programm gruppeneigener Stücke, die im Quartett- und Quintettgefüge nachdenklich und kreativ ausgelotet werden. Wie auf den vorherigen Alben steuert jedes Quartettmitglied Musik zur Session bei, wobei
die Bandleaderin selbst für die Hälfte des Programms verantwortlich ist. Saxophonist Uli Kempendorffs
Einführung in Julias Trio auf Not Far From Here (2019) brachte bereits eine neue Dimension in das
Zusammenspiel der Gruppe – dieses Gefühl wird durch die Ergänzung um die norwegische Trompeterin
Hildegunn Øiseth, die sich der Band auf der Trompete und dem Ziegenhorn für fünf Stücke anschließt, um
ein Mehrfaches verstärkt und ausgebaut. Fesselnder Lyrismus und spielerische rhythmische und melodische
Kniffe durchdringen Under The Surface – ein weiteres Juwel in Julia Hülsmanns zunehmend beeindruckendem ECM-Werk.

Auf Taking Turns, vor einem Jahrzehnt im New Yorker Avatar Studio aufgenommen, trifft der dänische
Gitarrist Jakob Bro auf eine generationenübergreifende Gruppe eigenständigster Improvisatoren. Lee Konitz,
Andrew Cyrille, Bill Frisell, Jason Moran und Thomas Morgan injizieren ihre besonderen Energien in eine
Session, die die Konventionen der „All-Star“-Band umgeht und den Schwerpunkt auf Teamwork legt. Bros
raumgreifende Musik provoziert innovative Erwiderungen der Musiker: ein atmosphärischer Impuls oder
Fragmente dezenter Melodien eröffnen neue Wege, die auf elegante Weise gemeinsam erkundet werden.
Im Kontext der Aufnahme meinte Jakob Bro: „In meinen Kompositionen geht es darum, ein Gefühl oder
einen Eindruck einzufangen, das zu skizzieren und es dann während der Aufnahme zu entfalten“.

Selten hat Tenorsaxofonist Archie Shepp so radikal und furios geklungen wie im Titelstück von ”The Magic
Of Ju-Ju”. Angetrieben von den hypnotisierenden Rhythmen eines fünfköpfigen Percussion-Ensembles
beginnt Shepp das Album mit einer schier atemberaubenden, über 18-minütigen Tour de Force an der
Schnittstelle zwischen Free Jazz, Panafrikanismus und Spiritual Jazz. Im Kontrast dazu wirken die drei
Stücke der zweiten Seite des Albums, die ebenfalls aus der Feder des Tenorsaxofonisten stammen, fast
hon traditionell jazzig - soweit das bei Shepp überhaupt möglich ist

Repress as neon green vinyl!

Non Phixion drops a re-realse n of the group’s classic debut “The Future Is Now.” Available exclusively through Fat Beats. “Utilizing beats that would do Dr. Octagon-era Dan “The Automator” proud and rhyming schemes that bring to mind early Wu-Tang Clan or mid-’90s Gang Starr, Non Phixion exposes the sound of true underground hip-hop. This is music that reflects the sound and attitude of countless rappers selling their albums out of the back of their cars or in booths on the street, cutting together dirty and disjointed sounds with a confidence and quality that is unique to this particular genre. This would all be for nothing if it wasn’t for the excellent raps from Ill Bill, Goretex, and Sabac Red, a trio of rappers who have a Tribe Called Quest-like chemistry. Their clever lyrics, respectable skills, and rough voices make this an intense and dark landmark in alternative rap.”

"The journey from Belfast to Los Angeles, entwined with a lifetime spent at the coalface of bona fide rock n roll, has made for a heady cocktail of creativity and popularity. Ricky Warwick, founder of The Almighty, Black Star Riders, The Fighting Hearts, acclaimed and respectful frontman of Thin Lizzy since 2011, remains unstoppable.
This time he’s on a solo run with the release of his new album Blood Ties. "

AM Higgins, the project of American singer-songwriter Annie Meredith Higgins, based in France, blends mystical poetry with influences from Kate Bush, Low, and Fiona Apple. Her new album, The Dream Trap, explores dreamy and deep atmospheres, fusing folk, electronics, and sonic experimentation. Recorded in a barn and a mill converted into a studio, the album captures contrasting dynamics, with arrangements combining organs, drums, synthesizers, and silences. Annie's warm, intimate, yet cosmic voice is at the heart of the project, supported by both organic and electronic instruments. For this album, she reunites with collaborator Casey Foubert (regular contributor to Sufjan Stevens, among others) for production and mixing, with contributions from sound creator Tana Barbier. The Dream Trap, set for release in February 2025 on the We Are Unique! label, promises to be a significant step forward in their musical evolution, both introspective and expansive.

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

"Strävan" Music Cassette Edition. Limited to 100 pcs on solid grey cassette.

“Strävan” is the third opus from the enigmatic yet revered Swedish black metal duo Murg. Embarking on a sinister and sombre journey, the album is driven by deliberate, slow-paced riffs that emanate stoic darkness and fierce pride. Murg embrace a musical minimalism that cuts straight to the bone, defying simplicity and predictability. “Strävan” stands tall and unwavering in its unyielding intensity – as a resolute farewell to creation itself.

Brand new double LP on orange vinyl limited to 300 copies worldwide from Tyla (The Dogs D’amour) featuring the latest single ‘Cadillac Man’ - 'It’s becoming a bit of a cliche these days to say 'I dreamt this idea, song, story film book etc' But that's exactly what I did with the song 'Cadillac Man' the lyrics and the video idea and the melody as it was just after noon I jumped out of bed and scribbled the lyrics an picked up my trusty black Gibson J200 the guitar I've written nearly every song on since the day I bought it brand new in 1991. It was then I realised id dreamt the chords too!' I was 62 years old when I began writing and recording this album in the Autum of 2023 and I'm lookin' at 64 this July. I sent some of the songs to Simon (Hanson) who slapped on the drums then I sent them to Jamie Turnbull ('In Vino Veritas' / Tyla’s Dogs D'amour producer) knowing he was a great guitarist, but I didn't know just how good! This is the first album I have ever done that you can and even I do, play air guitar too! The songs flowed and i seemed to have captured most if not every human emotion in a Genie's lamp which I am now putting in your trusty hands and ears and eyes and soul. I beg you pop the cork, and I can guarantee that some if not all of your wishes will come true.' 'Gilding the Lily' Is the album I've been trying to write wanting to write, all my life.'

Since 1972, the group has remained quintessential bearers of the tradition, releasing
nearly two dozen albums that cast a wide net for inspiration and repertoire. Remains
to Be Scene is no exception, delivering stirring takes on bluegrass standards and
providing their signature interpretations on deep cuts from the likes of The Kinks, Bob
Dylan, and Jim Croce. The album is the first to be released since the passing of
founding member and trailblazing banjo player Ben Eldridge, who contributes
impassioned liner notes to the release. Beneath the album's title lies a plain truth:
more than fifty years in, The Seldom Scene are looking ever forward.
Original Seldom Scene are Bluegrass Hall of Fame inductees
"It goes without saying (but I'll say it anyway), the Seldom Scene is one of the most
influential and durable bands in modern bluegrass history." - Bluegrass Unlimited

Sonny Boy Williamson (Alex Miller 1912 - 1965) was one of the most inspiring
harmonica players in blues history. Though he took his name from another well-known
harmonica player, no one really sounded like him. Williamson developed his own
signature harmonica style, always showing a metronome like timing and an endlessly
inventive technique.
This release consists of Sonny Boy's complete debut LP, Down And Out Blues ,
originally released in 1959 on the Chess Records subsidiary label, Checker. Featuring
Muddy Waters, Jimmy Rogers, Willie Dixon, and Otis Spann, among others.
Sonny Boy Williamson toured England with American Folk Blues Festival in 1963 and
1965 and appeared on the iconic tv music show Ready Steady Go (8 January 1965)
backed by UK band,The T-Bones with Gary Farr.

Liner Notes Shawn Pittman 'My Journey' Since releasing my first album in
1998, I have been on a road with many twists and turns and some interesting
stops along the way - Like the title song of this album 'My Journey' reveals,
"if I played on the streets, or on the biggest stage..." I think of high points like
getting a standing ovation and an encore as the opening act at The Fillmore in
San Francisco
Opening up for B.B. King for two nights in Houston at The House of Blues. Playing the
Chicago Blues Festival and having hundreds of people standing in line for an
autographed CD. Playing with the Muddy Waters band at Antone's in Austin and doing
a duo with James Cotton. Being a guest front man with Double Trouble in Minneapolis
and many more special moments. There were also gigs where I played for tips on the
street (mainly 6th street in Austin) and played at a shark auction on a pier in Bordeaux
(the auctioneer would interrupt the song and speak in very fast French!). I played 3
nights a week on the Riverwalk in San Antonio for people throwing wadded up napkins
at me and yelling "Play something we've heard!"
During this journey you meet people along the way that can see something in you that
maybe you can't even see yourself. I have been fortunate enough to meet many
people like that that have encouraged me to continue to use the gift that God gave
me. Erkan Ozdemir is one of those people. We started doing tours together around
2011 and I have had the privilege of sharing the band stand with him many times in
Europe and even in the USA. He is a great bass player and has raised up some
amazing young men as well as musicians, Kenan and Levent. You may know them as
the Ozdemirs. I am kind of like the "American cousin" to them as I have seen them
grow up and felt like family. This is the second time we have teamed up on a record.
The first was 'Make it Right' with Levent on drums and Erkan on bass. We have a great
chemistry live and in the studio.
I think this album might just be my favorite one of them all! Hope you enjoy!

The Gramophone 'Record of the Year' winning team of Stephen Hough and
the CBSO are joined by the principle conductor Sakari Oramo in this
benchmark recording of Saint-Saens' complete concertos

Forming part of Hyperion's iconic 'Romantic Piano Concerto' series, these
performances combine all the elegance required for the Frenchman's music with the
utmost bravura. Saint- Saens himself was a formidable pianist and his rare 1904 (!)
78rpm recording of Africa has until now been matchless; finally in Stephen Hough's
performance he has a rival

Felix's impassioned F minor quartet was the fiercely personal response to his
sister's death in 1847, only a few months before his own
The Takacs Quartet frames it with equally committed accounts of a much earlier
work, and Fanny's own important contribution to the genre.

Now available on LP for the first time

Recorded in Tilburg between February and April 2023 at Catacomben Studios
De Droom sees Noctambulist diving deeper into post-punk and shoegaze
influences while retaining the fierceness of their debut record Elegieen
What sets De Droom apart from the first record is that the writing was done with the
entire band on board whereas full song ideas used to be presented by a few
members. The songs this time around are just that, songs
While De Droom is not a concept album most songs reflect on the beauty of a
mediocre co-habitual existence while also struggling with the seemingly impossible
dream of homeownership. The album cover features a bedroom of a derelict villa,
reflecting the themes of hope, failure and heartbreak present on the album.

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).