Search:friends band

Renowned producer Sweatson Klank and the critically acclaimed Kondi Band join forces on a compelling new single, "Money Face". This deep mid-tempo afro house track features the legendary Sorie Kondi from Kondi Band, delivering a poignant narrative about how the Sierra Leonean government used the image of his face on their newly printed currency without his consent, leaving him uncompensated and left to face the daily struggles of life in Freetown. It's a modern protest anthem rooted in Afro Beat and World Music influences driven by the pulse of a dance floor friendly Disco track.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

Sgt. Pepper's Lonely Hearts Club Band's 2017 stereo mix as a limited, collectible picture disc vinyl LP. Produced by Giles Martin for this year's universally heralded 'Sgt. Pepper' Anniversary Edition releases, the album's new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles' father, George Martin. Praised by fans and music critics around the world, The Beatles' 'Sgt. Pepper' Anniversary Edition is 2017's most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

This superbly crafted recording features the versatile Japanese jazz/fusion keyboardist Jun Fukamachi as a veritable one-man band in a lively album that captures the essence of the original Beatles' tunes throughout. The innovative arramngements of the artist, tailored to get the maximum benefit from a surrounding instrument array, produce one of the best technical efforts. Synthesizer effects provide special flavor,' particularly at the close of Lucy In The Sky With Diamonds' on side one, and in the evocative opening of She's Leaving Home' on side two. Fukamachi blends a concert grand electric piano, Arp synthesizer, glockenspiel, bass drum, tambourine and other electronic instruments with results that indicate a group, not a solo, with ample display of each. Recorded ten years after the original, in 1977, this recording still sounds exciting, and an eye-catching cover with a mirror image of the famous photo shoot remains one of the most creative reworks of this 50 years old masterpiece' (Billboard)

At the summer party on the occasion of my soon-to-be 80th birthday, many friends came. As it said on the invitation: 'The Eschenau Chaos Band will play.' While the party was going on, people asked me when that band would be playing, and I replied: 'Now! You are that band', and I randomly handed out all of these instruments. Hartmut Geerken was clued in and had brought some as well - Sun Ra's Sun Harp among others. I started with a moroccan hand drum, bendir, and off it went. Unpractised." - Herman De Vries Herman de Vries, born 1931 in Alkmaar, is a Dutch visual artist who has been living in Eschenau in the Steigerwald region (Franconia, Germany) since 1970. Having started out as an Art Informel painter in the 1950s, his interests shifted in the ensuing years, and in the 1970s, he became focused on found objects from nature and their rtistic-philosophical qualities and implications. He has made paintings, collages, texts, sculptures, installations, a.o., and has dealt with plants, earth, and other parts of nature from botanical, medical, historical, as well as psychedelic viewpoints.Recording made on June 18, 2011, in Eschenau. Edition of 300 with liner notes by Herman de Vries and photos of the event on the back sleeve.

Sgt. Pepper's Lonely Hearts Club Band's 2017 stereo mix as a 1-LP 180-gram black vinyl. Produced by Giles Martin for this year's universally heralded 'Sgt. Pepper' Anniversary Edition releases, the album's new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles' father, George Martin. Praised by fans and music critics around the world, The Beatles' 'Sgt. Pepper' Anniversary Edition is 2017's most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

Yes, yes funky people, another super sexy, soul, classic dancer makes it onto the DYNAMITE CUTS 7” series. This all-time soul gem “That what friends are for” by the amazing Madeline Bell and Alan Parker. This version is taken from her solo album, uplifting, with a touch of Latin hip movement, is the fresh, must-have 45 everyone is waiting for. On the flip “That’s the way I like it” is a banging version club mover. When you get the best British Library musicians with one of the hottest American soul singers, the magic happens. The band is made up of some of the biggest library legends; Alan Parker, Alan Hawkshaw, Chris Karan and Duncan Lamont to name a few.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

Clara is the lead singer of Dakka Skanks, a Ska Punk band based in Brighton UK. Here she delivers two incredible new versions of Reggae classics from Brown Sugar & Rita Marley.

"I really like Clara’s voice, & this is the first of a series of releases from her on Soulside Productions. She is like my little sister; a strong woman who effortlessly captures the sound of the classic female vocalists from 60s & 70s Reggae" Marv Mack, Soulside Productions

All Shook Up is the fifth studio album by the American rock band Cheap Trick, originally released in 1980 and produced by legendary producer George Martin, best known for his work with The Beatles.

The album followed the huge success of At Budokan and Dream Police and found the band working with a new producer for the first time in several years. George Martin gave the recordings his own touch, while Cheap Trick remained true to the sound and songwriting that had made them popular. The album features memorable tracks like "Stop This Game", "Just Got Back", "Baby Loves to Rock" and "World’s Greatest Lover". All Shook Up reached number 24 on the Billboard 200 and was certified Gold in the United States. It remains a strong album from an important period in Cheap Trick’s career and a great addition to their classic catalogue.

All Shook Up is available as a limited edition of 2000 individually numbered copies on magenta vinyl and includes an insert.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

The title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour's fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier- O'Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs_written for a 13-piece ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section_Hour conjures up this central image with spectral string harmonics and free-time percussion gestures. While writing the keyboard pieces that became the takeoff point for the album, Cormier-O'Leary also found himself reflecting on the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward understanding and acceptance. Ghost Bridge forms a contrast with Hour's art-rock-informed, more improvisatory early releases, representing a step further into intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade, Phillybased multi-instrumentalist and Dear Life Records founder Cormier-O'Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. With dazzling production by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble's trademarks, especially cyclically developing guitar and keyboard melodies. However, even more than on Hour's last studio album, unconventional harmonies and sophisticated counterpoint take center stage here. These emotionally multifaceted compositions feel as rooted in contemporary classical and film soundtrack music as in indie rock. One of the most striking elements of Ghost Bridge is the more significant developmental role the orchestral instruments assume in each piece. Instead of underscoring Cormier-O'Leary's central hooks, there is a new mesmerizing level of detail to the group's conversational interactions and kinetic energy. "Centralia" is a stately and idiosyncratic fugue built from repeated and overlapping phrases, while Ghost Bridge's compositions are full of unexpected pivots in harmony that allow recurring melodic motifs to sound continually reshaded. On "Pearls," the chords modulate drastically around Cormier-O'Leary's inviting central melody in a way that emulates cuts in a film telling several parallel stories. There is an unsettled quality to the chords on Ghost Bridge, with Cormier- O'Leary's progressions avoiding firm grounding in either clearly sunny or melancholy tonalities. This mood is made more concrete by the record's sole vocal track, the jazz-inflected "Sky is Blue," featuring an uncannily gorgeous performance by Heeyoon Won. The song seems to be a communication from a person who has departed, offering consolation or perspective to someone left behind. Though its sonic palette is often tranquil, Ghost Bridge explores heartbreak, grief, anger, and helplessness in a distinct and pretense-free way. The project represents a bold step forward for Cormier-O'Leary as a composer and arranger, and on Ghost Bridge Hour reaches its most fully realized form to date, connecting soaring themes with an inventiveness that perfectly suits the searching nature of the subject matter.

East London based quintet IAN bring a sense of jovial camaraderie through their heavy, loud and droning post-rock dirges on debut album 'Come On Everybody, Let’s Do Nothing!' through UK charitable label Human Worth.

IAN (the band) are refreshing newcomers in the UK's heavy underground. The East London based quintet will be releasing their stirring debut album Come On Everybody, Let's Do Nothing! on Vinyl and Digital via independent label Human Worth on October 17th – a labour of love between five old friends and ex-bandmates from Exeter’s fertile early '00s DIY punk scene.

Self-described as "a band that appreciates the peaks and troughs of post-rock as much as the crunch of the riff," IAN's striking debut delivers five dirges that merge earth swallowing riffs with the atmospheres and dynamics of their post-rock heroes, such as Godspeed You! Black Emperor, with the bite and visceral heft of Cult Of Luna and Amenra. Thoughtfully captured by Wayne Adams (Petbrick, Big Lad) at his London based Bear Bites Horse studio, IAN craft slowly mounting riffs, with anguished screams, woven with elegant cello playing, field recordings and earthy timbres. Come On Everybody Let’s Do Nothing!, and the band IAN as a whole, is the culmination of 25 years of musical comradeship and the need to find inspiration in films, noise and the drudgery of middle-aged life.

Rising UK independent label Human Worth have pressed up a limited run of Eco Mix Vinyl, housed in a stunning sleeve designed by guitarist Craig Murray, with a very small batch of Bandcamp Exclusive Signed Prints. 10% of all profits will be donated to charity Mermaids – supporting trans, non-binary and gender-diverse children, young people and their families since 1995.

"A harsh mix of post-rock aggression and dark ambience. As jovial as they were incredible." ~ The Sleeping Shaman

"The third part of "The Nightstalker" Saga emerges from the depths of dystopia, the last part of a Childhood Intelligence original tale written/produced by Dan Piu & Gary Rich. After "The Tragedies Of A High-Tech World" (2020) and "Genetic Constitution" (2022), the final chapter "Flowers Of Agony" (2026) // Child 22 materializes through a 2x12 Lp. "Flowers Of Agony" presents yet another shade of the duo's analogue machine soul. Technoid brain dance electro from alien mysterious worlds. The album travels through various types of electro infused works, the live-arrangement dynamics and "The Nightstalker" Klangbild shines through each of the traxx, taking the listener through psychedelic cybernetic universes with strong techno force, bridging elements of the past works and taking them further into the future. Deep mind Influence intensifies the more listening time spent... This last chapter of a 3-Story Saga, is the essence, yet evolution of an analogue band, a 20 year friendship - the current zeitgeist & the partnership with Childhood Intelligence. For the future listener, we hope you might unravel the keys to this puzzle and find your own means to define and represent your true self in underground culture..."

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.

Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.

Tommy Lefroy has never been afraid of existential questions. From their critically acclaimed debut EP, Flight Risk, the band has captured audiences with their candor wrapped in wit. Both lyrically intimate and sonically vast, the band’s catalog is confessional and commentative, balancing irony with sincerity. They broach their biggest subjects yet on their first full length album, The Precariat. An economic term, the precariat refers to a growing class of people facing increasing instability. “Most people we know are experiencing an unprecedented level of precarity, permeating into the collective psyche. We feel like the best we could strive for in a body of work is an unflinching capture of the moment. The Precariat felt like the perfect title, and emblem of how it feels to be alive these days.” Recorded in Los Angeles at Blue Canyon Studios, The Precariat was produced by band members Wynter Bethel and Tessa Mouzourakis, with co-production from Stephen Sesso, and executive production by Mike Crossey (The 1975, Wolf Alice, MUNA). The album’s songs were written by Bethel and Mouzourakis, over the tenure of their friendship, across apartments and tour vans, phone calls and late night conversations. With themes of friendship, coming of age, personal and collective grief, environmental uncertainty and political decay, The Precariat offers a sonic landscape in which to contend with our rapidly changing world. The album’s title track (largely inspired by Springsteen’s critical narratives mistaken for bleeding heart patriotism) grapples with constant exposure to global suffering, and feeling entrenched within systems that fail us. “The Precariat” disintegrates into the ‘American cities’ outro, an idea started while the band lived in London, about missing home while watching it destabilize from afar. The Precariat faces this head on – all the sheen of the American empire has worn off, and there is much work to be done. “We hope to foster an antidote to precarity – community.”

It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.

Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.

The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.

PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.

PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.

First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.


For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

*2026 repress - with new labels and small hole. NOTE NEW CATALOGUE NUMBER! One of Shella’s most popular reissues, “Rebel” by Jamaican Canadian roots maestro Rothadam is finally back in stock! Pressed with a small hole (as opposed to the 2017 re-issue with the jukebox punch-out). Supported by King Shiloh, Gilles Peterson and countless others, Rothadam’s “Rebel” is one of the deepest and most sought after roots 45s to ever come out of Canada. “Rebel” evokes Black Ark studio wizardry with Rothadam’s delicate yet defiant vocal, thunderous bass and a massive horn section. This release is a monster double-sider: Two different versions of “Rebel” were recorded in Toronto circa 1975, 76 by different producers (Sid Lovejoy at LMP and Ron Lewis at Half Moon) and backed by different bands. The “Rebel” message in Rothadam’s music is obvious, but more than anything the song is a call for peace and unity reflecting on his life in Trenchtown, Jamaica. Rothadam explains: “…..because where I was living , It’s hard to don’t get involved. It wasn’t an easy thing to just live and just be happy….. Hard life man, hard life…most of my friends when they were doing things that aren’t right…Not me. So in other words, I was born to be a strong man.” Rothadam passed away in 2026 but was delighted with the new audience his music had found. This latest reissue is dedicated to his eternal memory.

Experience the music of Hans Zimmer like never before with this limited collector’s edition 2× color laser-etched vinyl. Featuring highlights from the acclaimed “The World of Hans Zimmer” albums, this premium release combines Hans Zimmer’s iconic music with cutting-edge vinyl design—an essential for collectors and fans alike. The set includes 10 electrifying tracks across the A-sides of two vinyl records, housed in a high-quality gatefold sleeve. The B-sides feature stunning laser-etched artwork instead of audio: a detailed clockwork design on one disc and a cosmic landscape on the other. These unique engravings reflect light across the full spectrum of colors, creating a stunning rainbow-like effect that changes with every movement of the vinyl.

This exclusive edition presents concert suites for orchestra, choir, and the legendary soloists of Hans Zimmer’s band, specially arranged by Hans Zimmer. Each suite reimagines the original film scores in a powerful new symphonic form. The album features excerpts from concert suites based on: Man of Steel, Wonder Woman, The Dark Knight, The Rock, Pirates of the Caribbean, No Time To Die, The Lion King, Gladiator, Interstellar, and Inception.

Performed by world-class musicians, including long-time collaborators such as Lebo M, Lisa Gerrard, and Pedro Eustache, alongside the Odessa Orchestra & Friends (conducted by Gavin Greenaway), the Vienna Radio Symphony Orchestra (conducted by Martin Gellner), and the Nairobi Chamber Chorus. A visually stunning and sonically powerful collector’s vinyl release—perfect for fans of film music, audiophiles, and Hans Zimmer enthusiasts.

(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.


Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.


Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.


BLUAI much as they sound on stage: raw, direct and closely connected.

Seit der Gründung von 2nd Grade im Jahr 2018 hat der in Philadelphia ansässige Songwriter und Produzent Peter Gill (der auch Gitarrist der Alt-Country-Band Friendship ist) eine Reihe spektakulärer neuer Welten erschaffen ausgehend vom 20. Jahrhundert-Gitarrenpop, wobei er dessen typischen Klischees irgendwie meilenweit hinter sich lässt, indem er sie genau bis zu ihrem logischen Ende verfolgt. Girls and Boys" ist das neueste Album von 2nd Grade und das erste bei Lame-O Records eine Sammlung von zwanzig Songs, von denen keiner länger als drei Minuten dauert, vollgepackt mit unwiderstehlichen Gitarrenriffs, Power-Akkorden, rasanten Drumbeats und wirbelnden Melodien. Songs von schwindelerregender Komplexität, die man trotzdem nicht aufhören kann zu summen. Auf Girls and Boys" gelingt 2nd Grade immer wieder der wundersame Trick des perfekten Popsongs: Es so aussehen zu lassen, als wäre es ganz einfach.

Cosmic Romance presents the debut album from Sua Galera, a vibrant 8-track journey shaped by friendship, late-night sessions, and a shared love for groove-driven music.

Formed in Dortmund, Germany, located in the middle of the multicultural region Ruhr, Sua Galera brings together nine musicians who first connected through the city’s jazz music scene. Led by keyboardist and producer Eskil Bauer, the collective channels a multinational identity, reflected both in its sound and its name: “Sua Galera,” Portuguese for “your crew.” With vocalists with Brazilian and Moroccan background at the forefront, the project naturally blends diverse cultural influences into a warm and cohesive musical language.

The album moves effortlessly between Brasil funk and Mediterranean-inspired grooves, all filtered through the timeless sound aesthetics of 1970s and 1980s studio productions. Recorded through countless nights spent both in the studio and immersed in live music culture, the record captures the spontaneity and chemistry of a band deeply connected through performance and collaboration.

Perfectly aligned with the Cosmic Romance universe, Sua Galera’s debut delivers an organic, soulful, and rhythm-forward sound designed for DJs and listeners seeking emotionally rich groove music.

Finnish-American guitarist Raoul Björkenheim and Norwegian drummer Paal Nilssen-Love join forces on their new album PING, released by We Jazz Records on 30th October on LP, CD and digital formats. Recorded in Helsinki, the album finds the seasoned duo firing on all cylinders and delivering a remarkable set of contemporary free music.

PING brings together nine excursions beyond “guitar + drums” and way beyond “free jazz”. That being said, those are still good touching points for the music that is wild, imaginative, raw, yet also at times delicate and introspective. Friends and collaborators for decades in groups such as the lauded Scorch Trio, Raoul and Paal have the history and the trust to create memorable and original improvised music that stuns and moves the curious listener.

Raoul Björkenheim (b. 1956) is a Finnish-American guitarist and composer who has been creating original music for the past four decades living in New York City and Helsinki, where he is presently based. Describing his on-going work as investigative guitarism, he is best known for an expressionistic and lyrical guitar style. Björkenheim’s eclectic discography numbers 50+ albums, ranging from ambient soundscapes to visceral free jazz, from duo to big band. His large-scale works for symphony orchestra have yet to be recorded, and he has also composed scores for over ten films and dance productions. Björkenheim has collaborated musically with Bill Laswell, Toshinori Kondo, William Parker, Mats Gustafsson, Hamid Drake, Ingebrigt Håker Flaten, Gerald Cleaver, Henry Kaiser, Lukas Ligeti, Morgan Ågren, Paul Schütze, Edward Vesala and Juhani Aaltonen, for the labels ECM, Rune Grammofon, Cuneiform, Tum Records and Long Song records. Björkenheim has been awarded various prizes including the Emma prize for best jazz recording of the year, and been nominated three times for the Nordic Music Award.

Paal Nilssen-Love (b. 1974) is a Norwegian drummer, composer, bandleader, and producer known for his central role in Scandinavian free jazz and improvised music. Since the mid- 1990s, he has appeared on more than 280 albums, including 70 released through his label, PNL Records. He has performed with influential groups including Atomic, The Thing, Peter Brötzmann’s Chicago Tentet, Scorch Trio, and Frode Gjerstad Trio, and collaborates regularly with artists such as, Ken Vandermark, Akira Sakata, Otomo Yoshihide, David Murray, Arto Lindsay and more. Paal Nilssen-Love’s fascination with traditional and experimental music has taken him around the world. Since his first visit to Ethiopia in 2009, he has built strong connections with musicians and artists in Addis Ababa, leading to collaborations, performances, teaching, and artist exchanges with Norway. Since his first trip to Brazil in 2013, he has returned regularly, developing collaborations with artists and musicians across the country. His musical explorations have also brought him to Tsugaru and Aomori in northern Japan, where he has developed an interest in the region’s traditional music. Nilssen-Love is also an active organizer and educator. He started both Oslo’s all-Ears festival, the Blow Out festival and FRAM Kunstfest, and has led workshops internationally and in Norway.

Who would expect that a new Krautrock release on Macadam Mambo would come from a Japanese band called Heavenphetamine?! The duo/couple have been touring all over Europe in the past two years, and started to build a serious fan base, as every performance they deliver is leaving an imperishable memory. This is on a date in Belgrade at Karmakoma that they met with Sacha. They had this album recorded and auto-release on tape but not on vinyl, and it came completely naturally to decide to release it as a LP on Macadam Mambo. The tracks on the album are new versions a bit different from the tape, let’s say a bit more mature and minimal than from the first ones recorded and give the feeling of listening to a masterpiece in the genre. It can be dark and profound but also enough light to bring back this little sun that has trouble to shine in the winter. This album has been highly influenced by their experience with the war in Ukraine, and the friendship they made there, where it has been recorded, and it express this mix of emotions due to the feeling of exasperation and the hope to see someday this conflict come to an end and the relief of the peace…

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.

Das dritte Studioalbum von Los Bitchos vereint Einflüsse der multinational besetzten Band mit Beiträgen internationaler Gastmusiker. Sie spielen vorwiegend Instrumentalmusik im Stil der Cumbia der 1970er und 1980er Jahre. Die neun Tracks verbinden unterschiedliche musikalische Hintergründe und enthalten mehrere Kollaborationen, darunter "Hang Up (Pt 2)", "Holding Cell", "Conexiones" und "El Pençe".

Released at a pivotal moment in Opeth’s ascent, Deliverance offers a snapshot of a band refusing to stand still.

Emerging in the wake of the breakthrough success of Blackwater Park, and produced in tandem with Steven Wilson, their sixth studio album boasts unapologetic heaviness, immersive songcraft, and intoxicating atmospheres. Whilst many contemporaries relied on tried and tested formulations to recreate and restructure, Opeth demonstrated true determination in ambition and sonic exploration.

Now, even after two decades Deliverance continues to hold reverence as a true jewel in the crown of modern progressive metal. This new reissue offers a fresh opportunity to revisit a record whose power, innovation and enduring legacy remain as impactful today as when it first arrived.

Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.

Subtle Beginnings is the second of the ReKab albums originally released on Móatún 7 to be reissued on vinyl for the first time by System One. Analogue Isolation came in May & sold out everywhere almost immediately

Label head D. Howard first came across ReKab while deep diving through Bandcamp, and like many lovers of deep, late night, soulful electronic music immediately fell for the emotional pads, pristine melodies & immaculate productions, simultaneously summoning up the essence of early 90s electronic while sounding thoroughly contemporary.

They connected and a plan hatched to make the Móatún 7 albums available on vinyl for the first time, something that avid record collector James was delighted about. Unfortunately James sadly passed away late August last year, but following conversation with the family & friends of James, it was decided to honour his wishes & make the albums available on vinyl & across all digital services once again. Proceeds after costs will be paid through to the trust fund set up to support James’ surviving son.

System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond