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TCF Music Group founder and Rochester's own 38 Spesh is back with his brand new offering, 'Gunsmoke', featuring 9 bangers with guest appearances by the late great Fred The Godson (RIP), Ransom, Flee Lord, Che Noir and Klass Murda, as well as productions by Harry Fraud, Rain 910, Tricky Trippz and 38 Spesh himself, all topped up with outstanding artwork by Laz.

When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12" just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine. Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

Phenomenal ambient explorations from the talented French electronic producer

Music taken from the artistic performance led by visual artists Mark Pozlep and Maxime Berthou.
The new compositions by French electronic producer Julien Jabre illustrate the stunning visuals of the Franco-Slovenian duo.
Julien Jabre’s Soutien De Famille sees him exploring the subtle gaps and nuances of his past work, crafting ten tracks of low-lit ambient textures and non-percussive rhythms.
A deeply introspective listening experience, Soutien De Famille unfolds at times like the breathless pause before a storm’s fury, and at others like the serene hush of meditative calm, where time itself lingers in a quiet wave.
It's as if Julien Jabre’s compositions whisper the promise of clarity after chaos where every note breathes reflection into the vast expanse of possibility.

Limited Edition - 300 copies.

2024 reissue of the initial edition released on Nov 2023 - blue & purple vinyls.

September 2012, the 4 turntablist djs from C2C (20syl, Greem, Atom and Pfel) released their first and only album to date : Tetr4.

This album was about to conquer the world: following heavy radio rotations with the hits "Down The Road" and "Happy", the band then toured in the biggest french venues before hitting the most renowned festival stages around the world (Coachella, Roskilde, Fuji Rock…).

For its 10th anniversary, the album comes on a new setting in its double LP vinyl version. Transparent color discs and silver sleeve to celebrate its first decade!

"We could go so far as to say that it is the human condition to be grotesque, since the human animal is the one that does not fit in, the freak of nature who has no place in the natural order and is capable of re-combining nature's products into hideous new forms." So reckoned Mark Fisher in 'The Weird And The Eerie', which chronicled the means by which the uncanny can enter the everyday. Mwg Drwg, the second album from South Wales psychic seers Obey Cobra, is an album that dwells in exactly this kind of headspace, where the otherworldly meets the kitchen sink. Always a band who've sought out new dimensions to explore via their trademark warped post-punk, electronic and industrial influences, Obey Cobra have crafted surreal new shapes here. Taking influences as diverse as Diane Arbus, David Lynch and Sonic Youth, they balance out heaviosity and grace on the likes of the majestically discordant 'Ten Of Wands' Elsewhere, on the title track, the band sculpt a Jesus Lizard-esque rhythmic pulse, eerie vocal abstraction and the crepuscular downtempo atmosphere of Massive Attack's Mezzanine into a uniquely haunting dreamscape. Mwg Drwg is where the weird and eerie are amplified to intimidating proportions It's where grotesquely and beauty happily cohabit. It's an aural exorcism of William Friedkin proportions that demands your immediate attention.

Repress! The Doors Of Perception Is Presented In A Unique Blue Swirl Colored Vinyl Pressing / "The Doors of Perception" is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, "The Doors of Perception" features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

Giuseppe Crisci is a musician and composer who splits his life in between London and Naples.
Known for his previous Acid House projects under the pseudonyms of DoTheDu and Crishi, he released several records on labels like Senseverse Records, Stealth Mission, and Pareidolia Recordings.

Conceived and written in his apartment in London and mostly recorded in his studio in Santa Maria Capua Vetere, this album proposes the sound of an evolving artist who drags himself into the deepest corners of heart and soul using profound synthesisers sounds which are coloured by intimate saxophone solos and rusty piano chords that enfasise strengthen the true sentiment of his lyrics narrated in English and Neapolitan dialect.

“My aim is to reach people’s soul and humbly influence them positively by trying to express what I feel deep inside myself, beyond meanings and words”— Giuseppe Crisci

Auf dieser Tribute-Compilation finden sich Interpretationen von Margo-Guryan-Songs von TOPS, Rahill, Clairo, June McDoom, MUNYA und Kainalu, Frankie Cosmos und Good Morning, Kate Bollinger, Pearl & The Oysters, Bedouine und Sylvie, Empress Of, Barrie, und Margo Price. Die meisten unserer Geschichten über Kultmusiker, die ein oder zwei Alben machen und dann zu verschwinden scheinen, sind von Trauer, Verzweiflung und ausgefranstem Ehrgeiz umrahmt. Nicht so bei Margo Guryan, einer begeisterten Jazz-Ausnahmeerscheinung, die Popmusik verachtete, bis sie 1966 „God Only Knows“ hörte, das ihr ein Fenster zu den Wundern öffnete, die diese Musik-Form enthalten konnte. Nur zwei Jahre später veröffentlichte sie auf dem Album „Take a Picture“ ihre eigenen kleinen Popsinfonien und erntete dafür großes Lob und hohe Erwartungen. Aber da sie sich bereits von dem Posaunisten Bob Brookmeyer hatte scheiden lassen, lehnte sie es ab, ein Musikerleben zu führen und auf Tournee zu gehen oder auch nur darüber zu sprechen. Ihre Zurückhaltung führte dazu, dass „Take a Picture“ bald in den Regalen der Discounter und letztlich in den Mülleimern landete. Sie schrieb weiterhin Songs und nahm noch jahrelang auf, arbeitete sogar mit der Band von Neil Diamond zusammen, aber meistens schien sie mit ihrem relativ privaten Leben zufrieden zu sein. Wie es sich für eine so atemberaubende und subtile Musik gehört, erlebte die 2021 verstorbene Guryan in den letzten sechs Jahrzehnten mehrere Wiederauferstehungen. Und jetzt geschieht es wieder: Kurz nachdem ihre fast geflüsterte und liebeskranke Hymne „Why Do I Cry“ sie 2021, im selben Jahr, in dem sie starb, zum TikTok-Star machte, startete die Numero Group eine Wiederveröffentlichungskampagne, aus der 2024 das hochgelobte Set „Words and Music“ hervorging. Und jetzt haben ein Dutzend Künstler - von denen keiner geboren war, als „Take a Picture“ entstand - das gesamte Album (plus einen Bonustrack) für „Like Someone I Know: A Celebration of Margo Guryan“ neu interpretiert. Empress Of, Margo Price, Clairo, June McDoom: Sie alle bestätigen Guryans Schärfe als Songwriterin und die Brillanz eines Albums, das den Werbezyklus, den Guryan vor so langer Zeit ablehnte, bei weitem übertroffen hat. Guryan wurde in einer weitläufigen Familie in Far Rockaway geboren, als der Ort noch größtenteils von Bäumen umrahmt war. Während ihres Kompositionsstudiums an der Boston University stolperte Guryan in einen Auftritt als Pianistin zwischen den Konzerten des Miles Davis Quintet, unterschrieb einen Vertrag als Songwriterin bei Atlantic Records und verpatzte eine Session mit Nesuhi Ertegun. Aber sie war nicht darauf aus, ein Gesangsstar zu werden. 1959 ging sie an die Lenox School of Jazz in den Berkshires, um für Ornette Coleman und Don Cherry zu schreiben, die Aufmerksamkeit des Dozenten Max Roach zu gewinnen und in Gunther Schuller einen langjährigen Mentor und Freund zu finden. Sie wurde eine versierte Texterin und schrieb nicht nur für Coleman und Nancy Harrow, sondern auch für Harry Belafonte und Gary MacFarland. Aber es war die spätere Begegnung mit den Beach Boys, die Guryan die Tür zu „Take a Picture“ und einer Reihe anderer großartiger Songs öffnete, von denen viele auf „Words and Music“ erschienen sind. „Take a Picture“ ist eine ausgefeilte Bestandsaufnahme der Romantik und Unentschlossenheit der Mittzwanziger, vom koketten Treiben in „Sunday Morning“ und der Verliebtheit in „Can You Tell“ bis zur verzweifelten Hilflosigkeit in „What Can I Give You“. Ihre ewig weiche Stimme, ihre kühne Songkunst und ihre völlige Offenheit: Guryan machte 1968 und darüber hinaus gewagte Musik, egal wie sanft sich diese Klänge zu bewegen schienen. „Like Someone I Know: A Celebration of Margo Guryan“ unterstreicht die Stärke von Guryans Liedern, indem es einem Dutzend verschiedener Künstler erlaubt, sie auf ihre eigene Reise mitzunehmen. Im Laufe der letzten Jahrzehnte ist immer deutlicher geworden, wie gut Guryan war, wie stabil ihre Lieder inmitten der wechselnden Geschmacksrichtungen. „Like Someone I Know: A Celebration of Margo Guryan“ ist eine absolute Bestätigung, ein Zeugnis für die anhaltende Relevanz und Brillanz von Guryans Arbeit. Ein Teil des Erlöses dieses Albums wird für die Bereitstellung von und den Einsatz für erschwingliche reproduktive Gesundheitsdienste gespendet.

The Rills haben sicherlich ein oder zwei Häute abgestreift, um diesen Punkt am Vorabend ihres spritzigen Debütalbums zu erreichen. Produziert von Dave McCracken (Indie-Mastermind hinter Ian Brown, dEUS, The Rifles), nehmen diese drei jungen Freunde auf "Don't Be A Stranger" die ungenutzte Energie, die sie zu viralen Sensationen und Lieblingen der Grassroots-Szene gemacht hat, und verwandeln sie in etwas Überlegteres, Vollständigeres und Herzlicheres.

- "The Rills sind eine Mischung aus einer Northern Oasis inspirierten und einer trendy Post-Punk-Band aus London. Damit schafften sie es nicht nur mit ihrer Musik, sondern auch über Tiktok zu begeistern." - Budde Talent Agency (Tourveranstalter)

Fashion icon, catwalker, curator, historian, commentator, activist, Grammy winner and - damn right - DJ, there ain"t much these days that Ms. Honey Dijon doesn"t do with aplomb. Most of her achievements thus far came via her passion for clubbing and the art of DJing, from those early Chicago parties to her role as a de facto ambassador for world dancefloors. This compilation is a pan-global, multi-era waltz through house music"s storied past. Repping Chicago, there"s Dance Mania"s Dance Kings, Blackjoy and Art Of Tones carrying the flag for Paris and even Shaboom"s Blackpool gets a nod. Some of these are forgotten classics, some are dollar bin finds, and there"s also a brand new Dijon track, sprinkled with her usual mustard-hot flourishes and lightly seasoned with some more recent efforts by Waajeed and Kiko Navarro. This can be consumed on a dancefloor, in the back of a cab or relaxing at home with a glass of something cold (or, if you must, hot).

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Two-Piers bringt mit "Come To My World" eine kurze Geschichte und Tauchgang in die Welt des Indie-Pop, von seinen bescheidenen Anfängen in den 1980ern bis zu den vielen grossartigen Bands, die heute die Flagge hochhalten.

"Come To My World" beginnt mit coolen Bands wie Talulah Gosh, The Flatmates, Blueboy, Primal Scream, McCarthy, 14 Iced Bears und The Springfields auf bahnbrechenden DIY-Labels wie Sarah Records, The Subway Organization und Creation. Über die einflussreichen C86-Kassettenjahre gelangen wir zu den kommerzielleren Spät-1980er-Sounds von The Primitives, The Soup Dragons und The Darling Buds. Wir navigieren durch die 1990er mit der unterschätzten Brillianz von Heavenly, der florierenden schottischen Szene mit Acts wie BMX Bandits und The Vaselines, bis zum Durchbruch der Indie-Pop-Sounds von Velocity Girl und Blake Babies in den USA. In den 2000ern brachte die US-Szene exzellente Bands wie Dum Dum Girls und The Pains Of Being Pure At Heart hervor, neben Underground-Acts wie Joanna Gruesome, The Spook School und Veronica Falls. Die Zusammenstellung endet mit einem Blick in die glänzende Zukunft des Indie-Pop mit Künstlern wie The Goon Sax, The Lost Days und Ribbon Stage.

Für Indie-Pop-Liebhaber ist diese Underground-Musik seit fast 40 Jahren eine ständige Quelle der Freude. 2LP mit 34 Tracks. 2CD mit 40 Tracks.

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

Fracatso was born during a spontaneous weekend break away from home of four good friends, emerging from the collective desire to record together in total freedom. This remarkable album that will delight you as it did us, is made of two distinct sessions recorded in Laura Lippie's Lyon apartment, composed on site using various acoustic and electronic instruments by Lippie, Iueke, Lowjack and Zaltan, fueled by wine, laughter and song and an honest need for aimless creation and poetical collaboration .

During an impromptu meeting in Amsterdam, Zaltan played to Gilb'R these unrevised original recordings lead by the powerful and whimsical words and voice of Lippie, and the known talent of the band creating bucolic arrangements in unformatted musical identities. Gilb'R instantly proposed to release the sessions on Versatile Records on the spot! And hear you have it , Fracatso lives.

Joel Sarakula's new album "Soft Focus" is a mid-career album spanning his many influences and genres including Soft-Rock, Funk and Indie Pop, all brought under the umbrella of his gentle gaze and a 'soft' aesthetic. "Soft Focus" is also the name of a photographic technique born out of a spherical abberation of the lens where the image is a bit blurry and undefined: it's both flattering and forgiving on the subject. It's an apt title. As a lifetime wearer of (vintage) glasses, Sarakula knows a lot about spherical abberations. Perhaps he produced these songs with his glasses off as these are abstract and warm vignettes, never overstaying their welcome and for this reason Sarakula manages to feature twelve new tracks on "Soft Focus".

Highlights include one of the two Shawn Lee produced tracks "I'll Get By Without You", the rockier, iberic beat of "King Of Spain", the soulful affirmation of "Back For Your Love" and the psychedelic-tinged "Bird Of Paradise" and "Microdosing". This is a lovingly crafted album, well polished and it feels like the culmination of Sarakula's adventures in soulful soft-rock and his defining statement in the genre. While comparisons will be made with contemporary projects like Shawn Lee's Young Gun Silver Fox, Drugdealer, Benny Sings and Prep, echoes of soft-rock icons Ned Doheny, Boz Scaggs, Todd Rundgren and Michael Franks also ripple gently through the album.

Imagine if Ray Manzarek was the frontman for the Bee Gees... It's a neat visual introduction to Joel Sarakula, a UK-based Australian artist who writes, produces and sings Soulful Pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences: sunny, uptempo jams for darker times. Self-aware that he looks and occasionally sounds like the love child of Ray Manzarek and the Gibb brothers, his self-deprecating sense of humour is always there just below the fringe.

Born in Sydney, based in UK and international in outlook Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. Since then he has released albums such as "Island Time" (2023), "Companionship" (2020), "Love Club" (2018) and "The Imposter" (2015) that have racked up plays on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald. It's- been a long road finding his current cult status starting out at the piano from a young age in suburban Sydney, writing and singing songs by the time he was a teenager and onstage by fifteen years old playing jazz standards in his local golf club. "I came from humble beginnings, it's best not to mention" as he sings in his 70s boogie influenced song "I'm Still Winning". Joel Sarakula is a fixture on the festival and club circuit having previously performed at SXSW, Primavera Sound and Glastonbury festivals. Ever the internationalist, he tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is another echo of the 1970s when world travelling soul and pop artists from the US did the same and guarantees that his live shows remain fresh, exciting and absolutely contemporary.

Mit diesem Album knüpfen PARAGON an die guten alten Zeiten der Band an und präsentieren ein Album, das melodischer und vielseitiger ausgefallen ist als seine Vorgänger, ohne dabei an Härte einzubüßen. Freut euch auf eingängige Melodien, Double-Bass-Salven ohne Ende, Killer-Riffs und kreischende Gitarren.

Mit diesem Album knüpfen PARAGON an die guten alten Zeiten der Band an und präsentieren ein Album, das melodischer und vielseitiger ausgefallen ist als seine Vorgänger, ohne dabei an Härte einzubüßen. Freut euch auf eingängige Melodien, Double-Bass-Salven ohne Ende, Killer-Riffs und kreischende Gitarren.

Mit diesem Album knüpfen PARAGON an die guten alten Zeiten der Band an und präsentieren ein Album, das melodischer und vielseitiger ausgefallen ist als seine Vorgänger, ohne dabei an Härte einzubüßen. Freut euch auf eingängige Melodien, Double-Bass-Salven ohne Ende, Killer-Riffs und kreischende Gitarren.

"""Many Tribe fans consider the band’s next album, 1993’s Midnight Marauders, to be its magnum opus. But you don’t arrive at the perfect nocturnal LP without first releasing a focused work like The Low End Theory, which winnowed the colorful expanse of People’s Instinctive Travels into a seamless listen. The Low End sounds minimal in comparison and is a mostly drum’n’bass record of subtle bells and whistles. Tribe represented freedom, and some 30 years after The Low End Theory, it’s still a sonic marvel and one of the best hip-hop albums of all-time."" "

While fighting through label limbo and placing his budding film career on freeze, Antwan “Big Boi” Patton spent a couple years readying the artillery for his solo close-up. Sir Lucious Left Foot: The Son of Chico Dusty is both a testament to the maturation of Big Boi and a tribute to his late father; underneath, it’s a speakeasy at breakneck speed, sittin’ on 32s. Where many other formidable MCs would be eaten alive, Big Boi shapeshifts across every mood and landscape with his trademark tenacity. He’s an effortless showboat who can portray sleaze with ease, but he’s a true class act who’s got nothing left to prove, yet will never let it show. Flanked by his known co-conspirators and many more, Big Boi blesses the senses the way only an East Point playboy can; it’s an intergenerational time warp, and another funky ride in HD. The final product is a natural progression of his Organized Noize lineage, sent across dimensions to return with an assemblage of time-tested potent Black grooves, then pressure-cooked in the kitchen of thefinest booty club in Georgia.

Goshawk brings a solid repertoire of productions characterised by a soulful disco vibe, already showcased in his collaborations with Erik Rico on Atjazz Record Company and Situatism, not to mention his stellar remix for Groovement Inc. - Love and Affection.

This 12" features four tracks that blend soulful boogie with house influences, delivering a fresh and captivating sound. The A1 track, "Loyalty" featuring LYMA, offers a distinct Detroit vibe with a low-slung funky bassline and LYMA's sultry vocals. A2 spotlights Greg Blackmann's powerful vocals over a dynamic piano chop, creatin an engaging and energetic groove.

The B-side continues the soulful journey, B2 features LYMA's remix of "1 Up 1 Down," adding her unique touch to the EP.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Real Bad Man keeps expanding his circle of collaborators by teaming up with fellow LA native Blu on their brand new collaboration effort "Bad News". Blu's introspective, intricate and mind bending rhymes perfectly blend with Real Bad Man's fresh and sample-heavy productions, creating a unique piece of works, boasting guest appearances by NY legend CL Smooth as well as Planet Asia, Cashus King, Donel Smoke and Definite. Limited vinyl hot off the press and available to order right now!

Unbound by place or genre, mercurial, experimental pop duo Soft as Snow find freedom to intuitively reflect the disarray of human connection with their intricate, shape-shifting pop production. With each successive release, the duo evolves, unfurling into their own poetic sound, now fully realized on their intimate, third full-length, Metal.wet.

The oft-present trappings of male-female duos are eschewed here as the Berlin-based Oda Starheim and Øystein Monsen contribute equally across a canvas of analogue synthesizers, samplers, live drums, and processed guitars. At once a part of and yet apart from the zeitgeist, their forward-thinking modernity stretches the limits of expectations across Metal.wet's ten insouciant tracks. Fans of Tirzah, Hype Williams, and even Angelo Badalamenti will find much to love in this haunting work peppered with ASMR moments and rough sampling wrapped in high production –– twinkling glasses and sirens in the distance, rhythms and voices up front. The result is synth-driven, noisy, and dripping with laidback, confident sensuality.

Although Starheim's voice begins the album in a whisper, it quickly becomes apparent that the group has jettisoned their previous tendency to bury and distort her vocals. Nested in a bed of thorny electronics and broken rhythms, her multifaceted vocals might bring to mind Kazu Makino of Blonde Redhead or Hope Sandoval fronting Massive Attack. London MC Brother May (Mica Levi, CURL) makes an appearance on the driving and ethereal “Whip,” while Øystein’s own voice appears for the first time in a state of languid background haze.

Soft as Snow create and record across Europe. Defiantly averse to genre, the pair become vessels for their “electronic music pushed to the brink of collapse” (The Wire), previously released by Infinite Machine and Houndstooth. Informed by backgrounds in film and performance art, “there’s a surrealism that comes with watching Soft as Snow in the flesh,” (Vice) as seen at L.E.V. and Lunchmeat Festivals. Collaborations with visual artist Guynoid, designer AGF Hydra, and sculptor Camilla Steinum add depth to the corporeality of their “strange, mesmerising and utterly unforgettable” electronic experimentations. (DJ Mag).

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Peni Candra Rini (she/her), the Indonesian composer and performer whose musical practice encompasses a wide range of traditional and experimental Javanese styles, announces her new album Wulansih (July 12, 2024) via New Amsterdam Records. Kronos Quartet's David Harrington, a frequent collaborator of Rini, recently called her “one of the world's greatest singers”, and on Wulansih she places her voice in conversation with a wide array of experimental and traditional musicians, including Andy McGraw, Lester St. Louis, Shahzad Ismaily, John Priestley, Curt Sydnor, and many others. Produced by Ismaily at New York's Figure 8 Recording, Wulansih creates a world all its own.

The 8 songs on Wulansih exert a deep sense of spiritual calm and act as, in Rini’s words, “a reminder that you are still human, listening to expressions of other humans.” Her music is deeply inspired by the poetry of Rumi and Hafez, Wayang Kulit (Indonesian shadow play), and Serat, the tradition of Sufi thought in Central Javanese court poetry. Rini says that Wulansih aims to “express my inner feelings, my soul, to provide inspiration to younger Indonesian composers, and to introduce Indonesian new compositions to new global audiences.”

Wulansih is a small encyclopedia of Indonesian music. Rini explains: “The album mixes a wide range of materials, including traditional Javanese gamelan singing, Balinese chant, stringband music of the 1960s, and intercultural improvisations, bringing them all together through my contemporary compositional approach. We created experimental ensembles, and even experimental instruments and tunings to create an album that, whatever you think of it, sounds like nothing else.”

Rini’s lyrics are poems, strongly inspired by Javanese Sufism, with a deep emphasis on love and the inner self. Estu explores the idea of “love as a sacrifice; it takes a commitment to put one’s heart in the right place. It requires the seriousness of an artist,” while Warahsih explores how “always through understanding and sincerity, teaching Love to those who study the ways of life, through the ages.”

The music on Wulansih transforms these poems of love and compassion into open and lush sonic spaces that are crafted using synthesizers, traditional Indonesian instruments, Rini’s wide vocal range, guitars, and Ismaily’s production.

Newcomer on the very famous Neurotrope label, Verdure signs here his first vinyl. Powerful, melodic and atmospheric sound at the same time. Acid, industrial, rave and freetekno influences. Dancefloor killer. Limited edition.

Stockholm quartet Clutter is the most exciting new band to arrive out of the Swedish capital for a long time, freshly signed to Swedish indie label PNKSLM Recordings (ShitKid, 7ebra etc). Their debut 7'' “Holy Brother" and "Jesus" finds the band showcasing their dirty shoegaze-y indie rock and is released on a A/B blue/red effect vinyl limited to 150 units only.

For soul-reggae artist Natty, music isn’t just pleasure, it is also a healing power.

The London-raised singer-songwriter has been on a remarkable journey of creative and personal discovery in recent years, moving his partner and children to rural Jamaica to live off-grid and off the land, while delving deep into studies on music’s mental and physiological properties .

The result of this journeying is Natty’s expansive, fourth album, The Divine Trinity.

Across nine tracks he employs his trademark vocal power and uplifting melodies to explore everything from earthy funk grooves to guitar-strummed yearning, emphatic spoken word entreaties and spacious, dubbed-out reggae.

Partnering with his longtime band The Rebelship once more, Natty also expands his reggae-influenced sound through the instrumental frequencies of South Asian tablas, Zimbabwean mbira and wooden flutes. “There’s so much that I’ve never done before in this record,” he explains. “We have a song in 5/4, inspired by my time learning music in Zimbabwe, as well as sound bowls, the song of the crickets from the land we live on in Jamaica and hand drums from all over. Its ancient frequencies combined with classic songwriting, allowing people to tune into the power of music.”

"Hin helga kvöl" (Das heilige Leiden) ist eine tiefgründige Erkundung roher Emotionen und schlichter Schönheit, die vom kulturellen Erbe Sólstafirs und den atemberaubenden Landschaften Islands inspiriert ist. Sólstafir, was auf Isländisch "dämmrige Strahlen" bedeutet, bezieht sich auf das Sonnenlicht, das in der Dämmerung durch dunkle Wolken dringt, und fängt das Wesen von "Hin helga kvöl" ein, ein Leuchtfeuer der Hoffnung, das durch die schwersten Zeiten scheint. Sólstafir stellt sich den inneren Dämonen und überschreitet die Dekadenz des Rock'n'Roll, indem es Musik schafft, in der der universelle Kampf und Triumph über die Not mitschwingt. Aufgenommen in den Flóki Studios im abgelegenen Skagafjörður, Island, hat der Wechsel der Umgebung die Atmosphäre des Albums nachhaltig beeinflusst. "Hin helga kvöl" enthält acht Tracks, die Sólstafirs charakteristischen melancholischen Sound mit Elementen aus ihrer Vergangenheit vermischen und dabei Black-Metal-Wurzeln mit melodiösem, hymnischem Rock verbinden. Über den Titel des Albums sagt Tryggvason: "Wir alle leiden im Leben, und sogar die Natur leidet. Das kann man auch in der Religion und Spiritualität finden. Hin helga kvöl bedeutet 'Das heilige Leiden' und steht für den Kampf, dem wir alle ausgesetzt sind." Das atemberaubende Cover des Albums von Rowan E. Cassidy mit seinen Kohleschatten illustriert perfekt die emotionale Tiefe und die atemberaubenden Höhen von "Hin helga kvöl". Tryggvason beschreibt die Musik mit einem Wort: "allein", was die Essenz von Sólstafirs ungefiltertem und leidenschaftlich emotionalem Sound einfängt. Die Musik von Sólstafir ist von vielfältigen Einflüssen geprägt, darunter Black Metal, Classic Rock, Post-Rock, Punk und die raue Schönheit der isländischen Natur, die einen ganz eigenen Sound hervorbringen. "Hin helga kvöl" verspricht ein heller, strahlender Meilenstein in Sólstafirs glanzvoller Karriere zu werden, der den Weg von der Dunkelheit zum Licht erhellt. Lasst diesen November die unverfälschte Schönheit und spirituelle Kraft von "Hin helga kvöl" in euren Köpfen freilaufen. Leiden hat sich noch nie so erhellend angefühlt.

We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.

"Hin helga kvöl" (Das heilige Leiden) ist eine tiefgründige Erkundung roher Emotionen und schlichter Schönheit, die vom kulturellen Erbe Sólstafirs und den atemberaubenden Landschaften Islands inspiriert ist. Sólstafir, was auf Isländisch "dämmrige Strahlen" bedeutet, bezieht sich auf das Sonnenlicht, das in der Dämmerung durch dunkle Wolken dringt, und fängt das Wesen von "Hin helga kvöl" ein, ein Leuchtfeuer der Hoffnung, das durch die schwersten Zeiten scheint. Sólstafir stellt sich den inneren Dämonen und überschreitet die Dekadenz des Rock'n'Roll, indem es Musik schafft, in der der universelle Kampf und Triumph über die Not mitschwingt. Aufgenommen in den Flóki Studios im abgelegenen Skagafjörður, Island, hat der Wechsel der Umgebung die Atmosphäre des Albums nachhaltig beeinflusst. "Hin helga kvöl" enthält acht Tracks, die Sólstafirs charakteristischen melancholischen Sound mit Elementen aus ihrer Vergangenheit vermischen und dabei Black-Metal-Wurzeln mit melodiösem, hymnischem Rock verbinden. Über den Titel des Albums sagt Tryggvason: "Wir alle leiden im Leben, und sogar die Natur leidet. Das kann man auch in der Religion und Spiritualität finden. Hin helga kvöl bedeutet 'Das heilige Leiden' und steht für den Kampf, dem wir alle ausgesetzt sind." Das atemberaubende Cover des Albums von Rowan E. Cassidy mit seinen Kohleschatten illustriert perfekt die emotionale Tiefe und die atemberaubenden Höhen von "Hin helga kvöl". Tryggvason beschreibt die Musik mit einem Wort: "allein", was die Essenz von Sólstafirs ungefiltertem und leidenschaftlich emotionalem Sound einfängt. Die Musik von Sólstafir ist von vielfältigen Einflüssen geprägt, darunter Black Metal, Classic Rock, Post-Rock, Punk und die raue Schönheit der isländischen Natur, die einen ganz eigenen Sound hervorbringen. "Hin helga kvöl" verspricht ein heller, strahlender Meilenstein in Sólstafirs glanzvoller Karriere zu werden, der den Weg von der Dunkelheit zum Licht erhellt. Lasst diesen November die unverfälschte Schönheit und spirituelle Kraft von "Hin helga kvöl" in euren Köpfen freilaufen. Leiden hat sich noch nie so erhellend angefühlt.

A followup to his 2022 debut Dayyani released on his own label, Trop Op " sees the drummer delve deeper into the mood of pedal steel, trumpet and Nordic folk he discovered early in his writing practice and develop it into a bigger, more comprehensive vision. Featuring eight original compositions and an arrangement of a traditional Swedish folk song, Dayyani s simple yet sophisticated writing style is focussed on lyrical thematic melodies, rich folk harmony, and showcasing each member of the sextets musical identity.With years of playing together in a number of up and-coming Danish jazz groups including Tigeroak, Nordlys trio and Vingborg/Valencia Quartet, the ensemble is well versed in giving each other space to express their voices freely. Soaring reverberated arcs from the pedal steel, subtle drum grooves and expressive, tasteful improvisations offer up an imaginative fresh perspective on contemporary Nordic jazz. The records title translates to Step Up ", referring to Dayyani s view that we all need to step up for our communities and share more of ourselves to the people around us. "We live in a time where there is an increasing focus on our mental health, and personal growth where we need to take care of ourselves. In doing so, I think we can sometimeswithdraw too much into ourselves, focus on the inner self and forget to stand up for eachother and the community surrounding what we do.

PRESENTED FOR THE FIRST TIME EVER ON VINYL AS A DOUBLE LP IN A GOLD VINYL PRESSING WITH A FOLD-OUT INSERT

As music fans know, James Brown wasn't just the greatest funk and soul singer the world has ever seen - he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the 60s and 70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop's golden age of sampling, it's no surprise that just about every note heard in this incredible collection has been used on not one, but multiple rap classics. Which, at the time, was proof of Brown's (and his crew's) staying power. But we are over three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd's monumental groove "I Know You Got Soul". Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes's emotional and powerful "Message From The Soul Sisters (Parts 1 & 2)" and Lyn Collins's slow, smoldering cover of Isaac Haye's "Do Your Thing." Politics even get the funky soul treatment, with Fred Wesley & The JBs "You Can Have Watergate But Gimme Some Bucks And I'll Be Straight" and "I'm Paying Taxes, But What Am I Buying?" And it should not be overlooked that Maceo & The Macks instrumental workout "Soul Power ‘74" even features a proto-sampling snippet from MLK’s I’ve Been To The Mountaintop speech from 1968. This is another amazing collection of James Brown's funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.

Inspired by Dua’s own self-discovery, Radical Optimism is an album that taps into the pure joy and happiness of having clarity in situations that once seemed impossible to face. The hard goodbyes and vulnerable beginnings that previously threatened to crush your soul, become milestones as you choose optimism and start to move with grace through the chaos.

Infused with the energy of Dua’s hometown, London, the attitude of the album embodies the rawness, honesty, confidence and freedom of ‘90s Britpop. Radical Optimism transports its listener to a dreamy pop world rich in musicality, lyrically unapologetic and sonically liberating.

The 3x GRAMMY and 7x Brit Award-winning global pop powerhouse worked with a team of core collaborators throughout the project including Caroline Ailin, Danny L. Harle, Tobias Jesso Jr. and Kevin Parker.

The two separate double vinyl sets are now available that correlate to the triple CD released earlier this year. TMTCH stumbled into existence onstage at the Alternative Country Festival, Electric Ballroom, Camden on Easter Sunday in 1984; after a long afternoon busking and drinking in a Hammersmith subway. They knew three chords and a hundred songs all of which sounded a bit the same, a frenzied skiffle that was exciting to jump around and drink snakebite to. If they thought about longevity at all, a lifespan of 40 days seemed most likely. It's forty years later and they are still running. Since those early days, and without much of a game plan other than always stepping onward, TMTCH have released around 20 albums plus many side projects, bootlegs, curios and an unknown number of T shirts. They've toured constantly, whether in dingy pub backrooms or Grand Ballrooms and Festival Stages. From Cairo to Reykjavik and all points in between, the TMTCH roadshow has shambled and thrilled through the decades, always passionate, always literate, occasionally dishevelled. Forty years of recording has spawned a vast back catalogue, well represented here by songs from each album, style and era; a tapestry of human stories and vibrant characters. So there are the fast sprints like early folk hoedown 'Ironmasters', the frantic shanty 'Raising Hell' and the amphetamine punk blues of 'Going Back to Coventry'. Then there are the waltzing folk ballads, from their impassioned version of the anti war standard 'Green Fields Of France' to the bitter regret of 'The Bells' and the righteous testimony of 'Our Day'. Elsewhere there are anthems galore; 'The Crest' a swirling gaelic chant, 'Rosettes', a fast marching assault of drums, fiddles and mandolins; historical epics such as 'Ghosts Of Cable Street', 'Shirt of Blue' and 'The Colours'; romantic ballads like the wistful 'Parted From You' and 'Island in The Rain'. All the eras are here; from the wiry lo fi of the first album, through the eighties into full blown MTV ready multi trackers with vast charging drums; the initial simplicity of their recipe deepening and darkening. And then on through the nineties, noughties and tens; always the double pronged vocals drifting between harmony and unison, always the celtic, folk and country tones vying for attention, the emotive fiddle, the top end mandolin above the thundering rhythm section. On through bouffant hair, spiky hair, dyed hair, thin hair and hats; on through Grunge, Baggy, Madchester, Rave, Britpop. On through the Miner's Strike, Poll Tax, New Labour, Iraq and Brexit. On through marriage, children, loss and revival. Forty years at the working end of rock and roll is a feat achieved by very few bands. It requires tremendous chemistry, a deep catalogue; both panoramic and miniature, a vital and irrepressible energy, all of which is on resplendent display in this sprawling 3 disc compilation. But most of all it requires an intense resilience, something that TMTCH possess in spades. Forty years on the run; was ever a band so aptly named?