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"The Witness" markiert eine gewitzte, unkonventionelle Linkskurve und zeigt Suuns in ihrer angenehmsten, offensten Form. Selbst aufgenommen und selbst produziert über den Großteil des Jahres 2020, ein Jahr voller Streit, Einsamkeit und Reflexion, zeigt "The Witness" die Band mit einer Lupe über ihren eigenen Standardzustand des Spielens und Auftretens. Es ist eine rasche Abkehr vom Vorgänger-Album "Felt" und erfreut sich daran, zufällige Ideen in ihren embryonalen Demo-Versionen zu ernten, als ob man ein glorreiches Feuerwerk in den Himmel entlässt. Mit dem Ausstieg von Max Henry als Vollzeitmitglied im Jahr 2018 und dem Wohnort-Wechsel von Ben Shemie, der jetzt einen Ozean entfernt in Paris lebt, manifestierte sich eine neue Herausforderung für das Trio, sich wieder zu finden, sowohl sozial als auch kreativ. Mehr als jede andere Suuns-Platte verwendet "The Witness" eine Jazz-Mentalität, die einen kontinuierlichen Vibe über die Vorstellung von separaten Kapiteln stellt. Es gibt eine Ebene der Entspannung, des Akzeptierens der Urinstinkte der Band und einen konzentrierten Versuch, diese Instinkte zu maximieren und zu überarbeiten. Für eine Band, die für ihre kryptische Anziehungskraft bekannt ist, markiert "The Witness" das bisher großzügigste, reduzierteste und berührendste Werk von Suuns.

"The Witness" markiert eine gewitzte, unkonventionelle Linkskurve und zeigt Suuns in ihrer angenehmsten, offensten Form. Selbst aufgenommen und selbst produziert über den Großteil des Jahres 2020, ein Jahr voller Streit, Einsamkeit und Reflexion, zeigt "The Witness" die Band mit einer Lupe über ihren eigenen Standardzustand des Spielens und Auftretens. Es ist eine rasche Abkehr vom Vorgänger-Album "Felt" und erfreut sich daran, zufällige Ideen in ihren embryonalen Demo-Versionen zu ernten, als ob man ein glorreiches Feuerwerk in den Himmel entlässt. Mit dem Ausstieg von Max Henry als Vollzeitmitglied im Jahr 2018 und dem Wohnort-Wechsel von Ben Shemie, der jetzt einen Ozean entfernt in Paris lebt, manifestierte sich eine neue Herausforderung für das Trio, sich wieder zu finden, sowohl sozial als auch kreativ. Mehr als jede andere Suuns-Platte verwendet "The Witness" eine Jazz-Mentalität, die einen kontinuierlichen Vibe über die Vorstellung von separaten Kapiteln stellt. Es gibt eine Ebene der Entspannung, des Akzeptierens der Urinstinkte der Band und einen konzentrierten Versuch, diese Instinkte zu maximieren und zu überarbeiten. Für eine Band, die für ihre kryptische Anziehungskraft bekannt ist, markiert "The Witness" das bisher großzügigste, reduzierteste und berührendste Werk von Suuns.

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

The fifth studio album from Welsh quintet Super Furry Animals was their most commercially successful to date. A musically eclectic record, incorporating pop, prog, punk, jungle, electronica, techno and death metal, the album was shortlisted for the Mercury Music Prize in 2001 and named as Mojo’s best album in the same year. Their major label debut album peaked at #3 on the UK album chart on release, supported by singles ‘(Running) Rings Around The World’, ‘It’s Not The End of the World’ and ‘Juxtapozed With You’. Paul McCartney and John Cale make cameo appearances on the album too.

This 20th anniversary reissued has been remastered from the original master tapes. The double-LP format is on heavyweight vinyl, while the 3CD set boasts 33 previously unreleased tracks including remixes, demos, other curios, as well as sleeve notes from Keith Cameron.







[f] B3

Was zur Hölle ist Country Funk? Eine berechtigte Frage. Die Antwort ist kompliziert, was zum Teil daran liegt, das Country Funk ein trotziges Genre ist, das sich allen Bemühungen einer Klassifizierung erfolgreich entzieht. Der Stil umfasst die positive Attitüde des Gospel und vereint sie mit der sexuellen Forschheit des Blues; die Harmonie des Ländlichen (=Country) trifft auf die harten Seite des Urbanen. Country Funk ist abwechselnd spielerisch und melancholisch, zwischen langsamen Jams und zündenden Arschwacklern. Er ist zugleich im Studio poliert und an der Theke gegrölt. Und während diese Kombinationen unmöglich erscheinen, macht bei näherem Hinhören alles Sinn. Light In The Attic präsentert ,Country Funk 1969-1975", einem Schmelztiegel mit der Musik von Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz und Johnny Jenkins. Dazu gesellen sich extensive Linernotes von Jessica Hundley (MOJO, The New York Times, Vogue), Originalartwork der ursprünglichen Alben und neue Illustrationen von Jess Rotter. Dieses Paket ist nicht nur Balsam für die Ohren, sondern auch ein Fest für die Augen. Stellt Euch ein Wunderland vor, in dem die METERS aus der Josie-Ära die Backing Band eines jungen ELVIS sind, der von KRIS KRISTOFFERSON geschriebene Melodien über das bäuerliche Leben in Amerika singt. Hier beginnt das Territorium des Country Funk. Alle Tracks sind neu gemastert. Mit 24-seitigem Booklet und raren Tracks von Bob Darin, Gray Fox, Dennis The Fox, Cherokee, Gritz und vielen anderen.

Furious debut from Kesa Getame. Precision drum programming and remorseless, uncompromising swing across four battle-ready tracks. It's music situated within dystopia, no doubt, but associations with only cataclysm and dread seem superficial. Vicious euphoria feels more appropriate, and it delivers this within a cutting-edge framework that manages to balance meticulous detail and raw expression whilst making it all sound effortless. Serious business.

Paint A Picture are incredibly pleased to announce news of their first release: a fully
remastered, licensed reissue of rediscovered British 7” Funny Situation recorded by Reflex - a
band put together by drummer David Humphrey (Public Image Ltd., Sparks, Mike Oldfield) and
privately released on his Star Records back in 1981. With the original record now changing hands
for in excess of £200 and just in time for a 40th anniversary release the reissue - remastered and
cut by Frank Merritt at The Carvery - will include updated original artwork whilst also containing an
insert providing further details and context on the release.
Recorded a few months after seminal Britfunk tune "Southern Freeez" at the very same Vine
Yard Studios and with the same engineer Simon Sullivan - the release unfortunately suffered from
a lack of marketing and proper distribution but almost forty years later the record is now receiving
the attention it deserves and with a price tag to match.
The A side presents a beautiful mesh of funk and soul styles with influence from other Britfunk
bands of the time but with a more overt jazz and rock feel fusing a tight rhythm section with smooth
vocals and climaxing in a guitar and saxophone duel.
The instrumental Version Two provides a fresh approach with the addition of dub FX and
Indian percussion with the use of a tabla added to the mix.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 Series 1 proved to be the last of their collaborations. For Series 2, composer Derek Wadsworth took over the reins to provide a more contemporary sound.
The Year 2 album contains Wadsworth’s score, specially selected cues to provide a driving and exciting narrative to convey the new adventures. Record Collector perfectly describes it as “classic 1976 period stuff: fast, furious and occasionally over the top in a dramatic way; nicely atmospheric for Sci-Fi and a touch funky every now and again.”
Derek Wadsworth enjoyed a long and successful career as a composer, trombonist and session musician. For over half-a-century he played, arranged, and conducted for some of the biggest names in music including Dusty Springfield, George Harrison, Judy Garland, Dionne Warwick and many more.

BERRIES new single 'The Expert' is released on 10th August 2021. The single follows on from the success of single 'Copy' released earlier in the year that received praise from Radio X, Amazing Radio, BBC London and 6Music as well as acclaim in key online press sites such as RGM, When The Horn Blows, Little Indie Blogs, Loud Women, New Noise, Get In Her Ears and God Is In The TV. Copy was #64 of Hot New Releases now @ AMZ UK, and added to the Amazon 'Best New Bands' playlist http://amzn.to/BestNewBands The single coincides with a headline London show at Grace on 12th August. Further shows in the calendar are Hull Zebedees Yard on 3rd Sept supporting Frank Turner and other Xtra Mile artists and a slot at Frank Turner's Lost Evenings IV Festival at Roundhouse, London. The Expert will later be released on flex-disc as a double A side single - together with their cover of Sleater-Kinney's 'Dance Song '97' - originally recorded for Kill Rock Stars 30th Anniversary compilation.

Following their critically well received debut album, Seekers, in 2017 - Our Kingdom Undone sees BEYOND GRACE refining and redefining their sound into something that’s simultaneously more intricate and more intense than ever before, combining conceptually ambitious songwriting and high octane heaviness in equal measure. Our Kingdom Undone’s gestation period took place under a pall of social unrest and political uncertainty the world over, so it’s perhaps no surprise that each of these eight songs is a cathartic scream of raw emotion and primal poetry. Full to the brim with lyrics that rage with unfettered fury and unbound frustration against the rise of isolationism, exploitation, rampant militarism, and religious indoctrination. Recorded at Stuck On A Name studio by Ian Boult and Bookhouse studio by Tom Hill, before being mixed and mastered by Charles Elliott (Tastemaker Audio / Abysmal Dawn), Our Kingdom Undone (whose stunning artwork was provided by in-demand UK artist Shindy Reehal) is both a crushing statement of intent and a vital reminder that the personal is political, that the ends do not justify the means, and that we must not let our fear divide us and drive us into an age of unreason.

Bad Waitress’ antsy art punk revels in fits of fury and ego. It spits in your face and winks, ferocious and playful. The Toronto-based four-piece play like they’re conspiring or casting a spell, each member wielding a different power, howls and erratic drum fills and fiery riffs fueling one another.
That improvisation spirit doesn’t stop at their music. Katelyn Molgard, Nicole Cain, Kali-Ann Butala, and Moon finish each other’s sentences. Their conversations flow like free jazz. When asked to describe Bad Waitress’ sound, they agree on one word: conviction. “We play with conviction. There's nothing apologetic about it,” Kateyln says. “Even with our bizarre song structures, we don't hide anything in our music. It's just very...I don't like the word raw, it’s overused, but...raw.” The band fidget between genres, instead honing a distinct energy. “It's energetic. It's electric,” Moon adds. “It's whatever word that we can think of later that's better than raw.” Nicole suggests, “Honest?” Katelyn jumps in, “Rawnest.”
Bad Waitress’ debut full-length album, No Taste, finds strength in mood swings, from upbeat “groovin down the street” songs like “Strawberry Milkshake” to “I'm gonna fucking punch everyone” songs like “Lacerate,” as Nicole puts it. “It’s good to listen to when you're walking alone at night. I get really anxious, but I feel powerful when I listen to this album, like I’m fucking untouchable. It’s basically a self-defense album.”
Traces of Sonic Youth, Fugazi, Yeah Yeah Yeahs, and The Stooges can be heard throughout No Taste. The band also cite jazz as an inspiration. Moon’s background playing improv jazz, blues and swing makes it an essential force, at the core of Bad Waitress’ music and collaborative process. “Moon usually has a weird drumbeat that they’ll play spontaneously, then Nicole will jump in with her wack ass music sensibility on bass, and then Kali will play something that’s super wrong in a good way,” Katelyn says. “And then I’ll make sense of it and find where the chords are. It’s bizarre.”

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint, further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous
and curious compositions out of thin air.
New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores;
and a dash of Old Hollywood glamour - the whistle-led songs on her debut EP ‘The
Forgotten Edge’ are as complex, delicate and indelible as anything performed with
viola or piano.
“Whistling is like a human theremin,” said Lewis, an Australian native who’s spent the
last several years in LA and whose performances there and around the world are
changing any preconceived notions of whistling by the room-full.
That’s not to say Lewis is all serious and snooty about the craft. Quite the contrary.
Her sense of humour is witty, self-deprecating and zany. She’s as likely to reference
the slapstick Leslie Nielsen film series ‘Naked Gun’ for music video concepts as she
is a classic piece of noir cinema.
Look no further than the equatorial and breezy opening cut ‘Oceanic Feeling’, a
lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les
Baxter. Meanwhile, the title track - and really, the entire collection here - is a loving,
albeit rather haunting, salute to one of Lewis’s heroes, the Italian composer and
musician Alessandro Alessandroni, whose whistle and guitar you hear on the title
theme of Ennio Morricone’s ‘A Fistful of Dollars’. Lewis and her ensemble create
classic cinema for your mind.
Her own love for the artform began when, around the age of twelve she was given
the CD ‘Steve ‘The Whistler’ Herbst Whistles Broadway’. Something contained in it
clicked. “It wasn’t that I was immediately obsessed, but I knew it was something I
could do well,” Lewis said.
The daughter of a musician mother and a documentary filmmaker father who often
focused his films on niche communities and topics, Lewis recalls watching a
television documentary with her parents about The International Whistlers
Convention in Louisburg, North Carolina. “My dad said, ‘If you ever make it into the
competition, I’ll take you there’,” Lewis said. Turns out, there was no bar to entry, just
a small fee. And so, several years later, she and her father travelled to the
convention. New to the form, Lewis didn’t take home one of the bigger prizes but they
were awarded the prize for Whistler Who Traveled The Greatest Distance. “We really
just used the trip to drive around the United States,” she said.
After studying film in Australia, Lewis moved to Los Angeles to be close to the film
industry. There, her circle of artist friends grew naturally and with providence - her
unique talent drawing more and more recognition. And over the last few years,
Lewis’s Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural
History Museum have become fabled, elegant happenings with appearances from
guests like John C. Reilly, Karen O and Mac DeMarco.
Recorded with a crack team of friends and musicians during 2020’s quarantine, ‘The
Forgotten Edge’ is rife with incredible performances from Thomas Brenneck (Sharon
Jones & The Dap-Kings / Budos Band), Joe Harrison (Charles Bradley, Lee Fields),
Eric Hagstrom (Brainstory), Abe Rounds (Meshell Ndegeocello, Andrew Bird, Blake
Mills), Leon Michels (El Michels Affair), Gabriel Rowland and Dave Guy.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

LTD Edition!

Wenn ein Großteil von DJ Seinfelds früherer Arbeit von sepiafarbenem Dunst geprägt war - ein Ergebnis der absichtlichen Lo-Fi-Produktionstechniken des Produzenten - dann rückt seine Musik auf dem brandneuen Album, „Mirrors“, fest in den Fokus.Aufgenommen zwischen Berlin und Malmö, ist „Mirrors“ der Nachfolger von DJ Seinfelds von der Kritik gefeiertem Debütalbum, „Time Spent Away From U“, von 2017 und sein erstes für Ninja Tune. Benannt nach einem Zitat von Armands Lieblingsschriftsteller, dem argentinischen Romancier Julio Cortázar, findet sich der Produzent auf dem Album in einer ruhigeren und geerdeten Stimmung wieder, nachdem ein unglücklicher Vorfall in seiner Familie ihn in den letzten Jahren dazu zwang, mehr Zeit zu Hause in seiner Heimat Schwedenzu verbringen.

2016 als Teil der Lo-Fi-House-Szene neben Produzenten wie Ross From Friends und Mall Grab bekannt geworden, veröffentlichte DJ Seinfeld (dessen Name auf ausgedehnte Sessions beim Schauen der klassischen US-Sitcom nach einer Trennung und einem Umzug nach Barcelona zurückgeht) 2017 sein Debütalbum, das unter anderem vom internationalen Rolling Stone und Pitchfork gelobt wurde. Es erregte auch die Aufmerksamkeit von Zeitgenossen wie Flume, Flying Lotus, Bonobo und Martin Garrix und führte dazu, dass DJ Seinfeld zu einem weltweit gefragten DJ wurde, der überall von Glastonbury bis Coachella, Warehouse Project, Sónar By Night und MoMaPS1 Sets spielte und die Bühne mit zahllosen Künstler*innen teilte, von Jeff Mills bis Stormzy, Underworld und Bicep, außerdem begleitete er Disclosure auf einigen Terminen ihrer US-Tour. Im Jahr 2018 erschien seine DJ-Kicks, wodurch er zu einer auserwählten Gruppe von DJs und Produzent*innen katapultiert wurde, zu der auch Moodymann, DJ Koze oder Nina Kraviz gehören. Um das Ganze abzurunden, eröffnete Aphex Twin seine Live-Shows mit dem DJ Seinfeld-Track, „Sakura“.

- generic sleeve repress -

It has been a little over a year since the release of 747's debut album, in which the Canadian masterfully drew notes of inspiration from the 90s to create an enchanting hour-long dream. In his first EP since, 747 returns from a temporal leap, bringing with him a blend of sounds and expressions to forge a timeless trip which hinges on the sounds of the 303.

Opening the release, "you,you" unfolds with a gentle and shimmery padded ambiance of anticipation. Gentle and light-footed percussion is soon interrupted by a dramatic siren, a warning beacon. Frenetic energy ensues, a frantic rush to the floor met with a cloudy head. Encompassed in an envelope of disorienting wailing and intermittent buzzing, but finally grounded by the familiarity of a 4/4 bass drum.

"Does Anybody Remember Laughter?" steps in to relinquish the force of gravity. The animated arpeggio and gleaming singing acid line rise up, uncovering the kaleidoscopic nature of the structural surroundings.

"While My 303 Gently Weeps" divulges further, exposing an underlying grid of dark geometry - binary and robotic. The topology of surfaces becomes increasingly fractalized, until the solo overtakes with a somber sadness. The 303 notes guide the mind on a melancholic and meditative walk along the grand staff, met after the break with a sense of hope and serenity.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Motörhead are the true embodiment of rock n’roll excess. A hybrid of punk, rock and heavy metal played with relentless, ear-curdling power. They were a force of nature and nothing short of life-changing for millions, their approach to life and music; there was no “off” switch and they became legends as a result. Fronted for their entirety of their career by Ian ‘Lemmy’ Kilmister, they released twenty two studio albums over their 40 years together. Amassing chart topping records, a Grammy award and racking up 15 million worldwide sales. Their signature song, Ace Of Spades perfectly captured everything great about hard rock, heavy metal, and punk, amped it all up to 11, and came racing out of the gates at what felt like a million miles an hour, pushing at every musical boundary. Nothing was harder. Nothing was faster. And certainly nothing was louder. Anyone disputing this fact need look no further than any heavy metal gig and play ‘spot the Motörhead T-shirt and jacket’, they still outnumber anyone else, hands down. Motörhead has truly become a lifestyle for several generations of rockers, metalheads, punks, bikers, athletes, rebels, outcasts, and freethinkers all around the world. Few bands in modern history can instantly ignite the adrenaline of music fans the way they can, they changed the course of hard rock…forever. This Very Best Of compilation is the very first, spanning their entire career.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

Mega Bog (der kosmopolitische Moniker der Musikerin/Künstlerin Erin Birgy) wendet sich von von der schwülen Atmosphäre der Grünlilien-Plantage des Vorgängeralbums "Dolphine" (2019) ab und bringt uns mit "Life, And Another" zurück auf unseren Heimatplaneten, in den dünnen Luftdruck eines Wüstentals, wo die vierzehn Songs geschrieben und wie Steine in der Landschaft verstreut wurden, jeder einzelne ein kostbares Juwel, das Birgy gemeißelt hat. Es ist eine weitere fantastische Off-World-Übertragung und ihr bisher anspruchsvollstes, forschendstes und zugänglichstes Statement. "Life, And Another" inszeniert ein halb-fiktionalisiertes Drama im Inneren des Ichs, mit Szenen kollektiver Sehnsucht auf der Bowlingbahn, Auseinandersetzungen über eine aufgeblähte Erinnerung außerhalb der Bar und einsamen Kreisen auf der Terrasse, die in sturer Ehrfurcht über den Hof hinausschauen. Diese Erinnerungen, sowohl aus der Vergangenheit als auch aus der Zukunft, sprudeln das ganze Album hindurch und präsentieren ihre Charaktere als neue Einträge in das Mega Bog Book of Symbols. Zusammen mit dem Co-Produzenten, Tontechniker und Perkussionisten James Krivchenia (BIG THIEF) lebte Erin Birgy in einer kleinen Hütte in der Nähe des Rio Grande und war zwischen ihren Tourneeplänen oft allein. In diesen Isolationen erlebte sie den teilweisen Verlust des "bekannten" Selbst inmitten der Weite. Aufgenommen in mehreren Sessions in verschiedenen Studios enthält "Life, And Another" instrumentale Beiträge von langjährigen und neuen Mitstreitern, darunter Aaron Otheim, Zach Burba, Will Segerstrom, Matt Bachmann, Andrew Dorset von Lake, James Krivchenia von Big Thief, Meg Duffy von Hand Habits, Jade Tcimpidis, Alex Liebman und die Co-Engineers Geoff Treager und Phil Hartunian. Ihre Hörer wissen inzwischen, dass sie MEGA BOG vertrauen können, dass sie kontinuierlich in tiefere und wildere, spirituelle Pop-Gefilde geführt werden. Flirrende Piano-Glissandi, eindringliche psychische Hintergrundstimmen und Tequila-inspirierte Improvisationen schleichen und kriechen über die dunkle Nacht-der-Seele-Rock'n'Roll-Traumlandschaft, bevor sie verschwinden, um Platz zu machen für Beschwörungen von stiller Klarheit und lebendig-atmenden Instrumentalpassagen. In "Life, And Another" verwandelt Mega Bog die brutale Schwere der Welt in den kollektiven Kampf des Lebens.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

“One of the vital pieces in the jigsaw puzzle of ’90s British rock music.” Pat Gilbert, Mojo magazine While his own name has yet to grace an album front cover, for more than a twenty years Gem Archer has been a key contributor to some of the UK’s highest profile guitar bands, beginning with Oasis in 2000, Beady Eye in 2009 and the touring version of Noel Gallagher’s High Flying Birds since 2015.
Before all that there was Heavy Stereo, caught up in the mid ‘90s music maelstrom where their only album ‘Déjà Voodoo’ took its place alongside Paul Weller’s ‘Stanley Road’, The Charlatans’ ‘Telling Stories’, Super Furry Animals’ ‘Fuzzy Logic’, Supergrass’s ‘I Should Coco’, The Boo Radley’s ‘Giant Steps’, Ride’s ‘Carnival Of Light’ – and, of course, ‘Definitely Maybe’ and ‘(What’s The Story) Morning Glory?’ by Oasis. It is easy to understand why any album could get overlooked in such exalted company. ‘Déjà Voodoo’ and the four singles – ‘Sleep Freak’, ‘Smiler’, ‘Chinese Burn’ and ‘Mouse In A Hole’ – all display Gem’s deeply held affection for old-school rock’n’roll values. In 1994/95, the outside world came into sync with his fondness for The Jam, Sly Stone, Hendrix, The Beatles, the Stones, The Small Faces, Motown, Stax, glam rock, punk rock and all other points on the compass of rock’n’roll cool, which coalesced into what became known as Britpop. And while those influences are in ‘Déjà Voodoo’ for all to hear, the album is far from derivative; this is a collection of well-constructed pop songs that still retain their swagger and zest.
Unavailable since it was first released on Creation Records in 1996, this new 25th anniversary 180g clear vinyl edition is a faithful recreation of the original 12-track LP.

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

This is music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History of Nothing (Trost records/TR170) got a huge number of excited reviews: A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays. (Peter Margasak, Chicago Reader) Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed. (Stuart Broomer, Free Jazz Collective) Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well. (Jan Granlie, Salt Peanuts) Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017 Mixed by Joaquim Monte and Rodrigo Amado, CD Master by Simon Wadsworth / LP Master by Martin Siewert

First-ever vinyl issue of this killer comp from 94 (Cherry Red)

Side A/B oxblood, Side C/D milky clear. Comes with 18x24 folded poster. Spanning 4 sides of vinyl you'll hear one of the finest deathrock/goth/new wave bands of all time with songs from EPs/12"s/demos from 1983-1985. It's a release not to miss.

Formed in Keighley, West Yorkshire, during the Post Punk of early 1980’s out of the band ‘The Elements”, took their name from the title of the song “Chant of the Ever Circling Skeletal Family” from the 1974 David Bowie album, Diamond Dogs.
Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture.
Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums ‘Burning Oil’ (1984) and ‘Futile Combat’ (1985) of which saw the release of Skeletal Family’s most successful single ‘Promised Land’ on Red Rhino record label.
Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy.

NIGHTMARE VACATION vinyl will be released on 27th August via Atlantic Records/Sugar Trap. The genre-defying album features 16 captivating tracks, each showcasing Rico’s out-of-this-world energy and rockstar delivery, complimented by production from the likes of CashMoneyAP, Buddah Bless, Dylan Brady (100 Gecs) and more.

“I feel like this album proved to me that no matter what I’m going through, I can still make powerful music. All of these songs that I ever made were always about power, always about making you feel powerful. Sometimes you give so much power you feel powerless…I just tried to put all the emotions, and the happiness, and the crazy feelings y’all make me feel in this music and give it right back to you to consume and get your power up. So this is a soundtrack to getting back on your shit!” – Rico Nasty

NIGHTMARE VACATION has already drawn early acclaim via a number of international and domestic press looks, ranging from NME, WAVE and CRACK to Rolling Stone, The New York Times, W Mag and more. The album – which includes features from such luminaries as Trippie Redd and Aminé and production also by Take A Daytrip (Lil Nas X, Sheck Wes, Kid Cudi), Avedon (Roddy Ricch, Chloe x Halle), GRAMMY® Award-nominee Tay Keith (Travis Scott, BlocBoy JB, Drake) and longtime collaborator Kenny Beats – is highlighted by the singles, “IPHONE,” “Own It,” “Don’t Like Me (Feat. Don Toliver & Gucci Mane),” and “OHFR?,”.

NIGHMARE VACTION further follows the release of ANGER MANAGEMENT, a collaborative project with longtime producer Kenny Beats which followed the duo’s work together on Rico’s breakthrough 2018 Atlantic Records/Sugar Trap label debut, NASTY.















[o] 15. Smack A Bitch (feat. ppcocaine, Sukihana & Rubi Rose) [Remix]

Through their relentless hard work, non-stop touring and critically acclaimed/chart-topping releases gaining them over 250 million cross-platform streams/views – JINJER are inarguably one of modern metal's hottest and most exciting bands active today. The band has become synonymous with doing things their own way and breaking every rule in the heavy metal handbook, which is keenly evident on their highly anticipated fourth studio album and follow up to the groundbreaking Macro album, Wallflowers. The new album not only presents a methodical and premeditated next step in the band's already imposing career, but moreover, it mirrors the personal adversities they’ve faced due to the worldwide events over the last year. Wallflowers is not only an upgrade to the progressive groove metal sound that all JINJER fans crave, but also a sonic pressure cooker of technical musicianship, emotional fury and an intense soundtrack befitting the harrowing state of the world today. Hailing from the conflict-ridden Ukrainian region of Donetsk but now calling Kiev their home base, JINJER truly do not mince words – or riffs – on Wallflowers. Their exceptional precision of modern metal paired with tough as nails attitude has earned them a fiercely loyal, rabid fanbase and massive critical acclaim, making JINJER one of the most talked about bands today and garnering them many sold out performances across the globe. With nearly all of JINJER’s releases composed between vans, backstage rooms and constant touring, Wallflowers continues where its predecessor Macro left off, only this time with less distraction and more time to focus on songwriting.

Leeds art-rock outfit Mush return with new single "Peak Bleak" on limited edition green vinyl. Never ones to rest on their laurels, Peak Bleak is the immediate follow up to their hugely acclaimed second album "Lines Redacted", and sees Mush further exploring the outer reaches of art-rock with the coruscating wit and unique delivery that has become their trademark.

Kevin Martins erstes Solo-Album unter dem Namen The Bug seit sieben Jahren könnte zeitlich nicht besser passen: „Fire“ - der dritte, berauschende Teil eines urbanen Triptychons, das mit dem explosiven „London Zoo“ von 2008 begann und mit dem bewusstseinsverändernden „Angels & Devils“ von 2014 fortgesetzt wurde - besteht aus vierzehn Tracks, die die Synapsen zum Schmelzen bringen, die den Körper durcheinanderwirbeln und die Hörerinnen und Hörer auf cineastische Weise von der Beschwörung einer düsteren, abgeriegelten Stadtlandschaft bis hin zu schwindelerregenden, tiefenscharfen Nahaufnahmen der Psyche von Martin, die ihn und seine Kollaborateur*innen an die Belastungsgrenze führen.

Die Aggression, die Attitüde, der beeindruckende Umfang und die destabilisierende, beunruhigende Raserei des Bug-Sounds ist durchweg perfekt umgesetzt, aber „Fire“ ist keine bloße Wiederbelebung der Vergangenheit - für Martin ist das Album sowohl eine Antwort auf die einzigartigen Umstände des vergangenen Jahres als auch eine Chance, seine eigene Reise vom zurückgezogenen Sound-Besessenen zum Familienvater zu reflektieren, und seinen Durst zu stillen - in einer Zeit erzwungener hermetischer Isolation - nach Kontakt, nach dem Chaos, das nur zwischen Menschen, Lärm und Bässen stattfinden kann, die Irritation der Sinne, die stets Bugs Methode und Weg waren, seit er in den späten 90ern aus den tiefsten Ecken Londons herauskroch.

Es ist das bisher beste Album von The Bug, möglicherweise die wildeste und bewegendste Musik, die Martin je gemacht hat, und es berührt immer noch die anfänglichen Sehnsüchte und Impulse, die „London Zoo“ wie eine Rohrbombe durch den Briefkasten in Ihre Welt katapultiert haben. Es ist eine hungrige Platte, in jeder Hinsicht.

Die MCs, die auf dem Album zu hören sind - einerseits langjährige Weggefährt*innen wie Flowdan, Roger Robinson, Moor Mother, Manga Saint Hilare, Irah & Daddy Freddy, andererseits relativ neue Namen im Bug-Stall wie Logan, Nazamba und FFSYTHO - reflektieren unweigerlich den äußeren Wahnsinn einer auf den Kopf gestellten Welt, graben aber auch tief in sich selbst, um nachdenkliche, erbarmungslos ehrliche Darstellungen der Wut, des Widerstands und der Resignation zu schaffen, die das letzte Jahr in uns allen hervorgerufen hat.

Berlins herausragende Technoterrestrial Ellen Allien bringt uns die letzte Ausgabe der Mammut-Compilation-Serie We Are Not Alone, insgesamt drei Teile mit jeweils 11 Tracks. Jede der Compilations enthält brandneue Sounds von Künstler*innen, die entweder bereits auf der legendären Veranstaltungsreihe gespielt haben oder zukünftig auf We Are Not Alone-Partys auftreten werden. Hier kommt das Abschlusskapitel, schnallen wir uns an für ein freakiges Finale...

Ryan James Ford - EQ 10MG Base - Kybernetische Assimilatoren dringen in die Exosphäre der Erde ein.
LADA (Dasha Rush & Lars Hemmerling) - Kassi - Dichter kosmischer Minimalismus
Cosmin TRG - Sourde - Unorthodoxe Renegaten-Snares
Heidi Sabertooth - Innergaze - Introspektive Präzision eines Lasers
Henning Baer - Nightwing Microlight - Donnernde kataklysmische Vibrationen
Setaoc Mass - Silent Tension – Urzeitliche, rituelle Praktiken
Truncate - Basic – Straff, Athmosphärisch und druckvoll
Shlomi Aber - Terrified - Schauriger Technoterror!
Hemka - Culture - Der Traum von einer wilden Fahrt durch die Nacht
Bertrand. - Midsummer Dream – Raue Beats und fluffige Pads
Adriana Lopez - Chaos Transition – Fehlfunktion, Schmelze, Supergau

Fractal City, the latest Cubenx album is a collection of terrestrial jams and arachnean ambient ballads that are particularly apt for urban listening. If its predecessors cracked the musical codes in force and shone by the versatility of their references, this new opus offers its listener an intense and symbolic sound environment.


The raw material of Fractal City was first conceived as a series of sound patches, designed to run in parallel with Canadian digital artist Maotik's installation. Broadcasted in real-time by generative patches reacting to various external and non-human data, those musical excerpts have been rendered in hundreds of nuances and extended over infinite durations. This unusual approach confers to the recording of the finished album's outstanding immersive strength.

Recorded live on a single track over a short period of a few weeks, the nine compositions of Fractal City capture the obsessions of its author for postmodern urban landscapes, and the revelation of new perspectives on the city of Paris.

The opening piece `Ssarg´ seems to hide the figure of the Mexican ambient producer Jorge Reyes. Cubenx built a cocoon of energetic layers, a new home of the mystical kind harmoniously integrated in a flourishing rainforest ecosystem.

`Transect ´refers to the urban development model of the same name, which is based on a division of the city into autonomous "fractal" zones. It also echoes the concept of "metro polarities" which considers the city as a mosaic of social groups. "By cycling in the evening with a friend, we could get away from the city centre to the suburbs of Paris. The contrasts are striking. You move from chic districts to bedroom communities, from industrial zones to improvised caravan camps. But there is a kind of energy in this heterogeneity that pushes you to always pedal further."

A few miles away, it would look like Art and urbanism have tried to level the cultural and social discrepancies of the outskirts of Paris. "Architectural sites like the Arcades of Bofill are splendid. There are completely extravagant projects, which seem to emerge from nowhere."
These buildings with ambitious aesthetics off the beaten tourist track, deteriorate over time and often remain far from the expectations of the local population. A feeling of nostalgic beauty is particularly perceptible on the slowest and most introspective ballads of the album as 'Urban Decay', 'Hagel' or 'Axe Majeur'. The producer leaves nonetheless no room for melancholic emptiness. "Every time, I have the impression that urban culture is taking its rights back and that young people appropriate the places in one way or another."

Just like `Transect', ` Quantified' and `Fractal City' present themselves as mirrors of a daily urban life in constant motion. All three are empowered by an overheated factory, which dispatches hypnotic beats and burst of analogue compressors with a clinical precision and direct them straight away to the reptilian areas of their listener's brains.

The sequencing leaves however space and time to take breath and makes way for aerial sonic excursions of spiritual and enlightened nature. On `Human Dilemma', Cubenx shows some concerns to opening the Pandora's box of transhumanist theories. While a long cosmic wave gives the listener a feeling of perfect fullness, a dizzying guitar distortion cast doubts on long term outlooks. `Smash Other' on the other way alternates gentle dissonances over an ocean of white noise and concludes the album on ethereal note.

With ´Fractal City", Cubenx eludes his irreconcilable love for shoegaze pop song and techno to concentrate exclusively on the production of mutant experimental materials. The result is an uncanny musical object, rich in image and sensation. Cubenx give us a guiding framework, enthralling enough to engage the listener to a tour of town. But he leaves it to the sole listeners to design their own projection of the city.

Anlässlich des 25-jährigen Jubiläums der Spice Girls Debütsingle ’Wannabe’ (ursprünglich am 8. Juli 1996
in Großbritannien veröffentlicht) bringen Virgin / USM am 9. Juli 2021 eine neue vier Songs umfassende
’E.P’ (Extended Play) auf 12ff Picture Disc und Kassette heraus.
Neben der Original-Single und einem gefragten Remix von Junior Vasquez (ursprünglich ein Bonustrack
auf der 1996er ’2 Become 1’ CD-Single) gibt es die Original-Demo-Aufnahme und ’Feed Your Love’,
eine Ballade, die von den Spice Girls und ’Wannabe’-Co-Autoren Richard ’Biff’ Stannard und Matt Rowe
geschrieben wurde und für das Album ’Spice’ aufgenommen, aber bisher nicht veröffentlicht wurde.
Wannabe” war eine Nr. 1 Single in 35 Ländern (Quelle: Billboard Magazin) mit physischen Verkäufen von
über 7 Millionen Exemplaren. Im Jahr 2020 war ”Wannabe” der meistgestreamte 90er-Jahre-Song eines
weiblichen Künstlers auf Spotify.

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Words can't fully express how honored we are to launch our label with this timeless masterpiece of a tune. And honestly, words will never do this monumental piece justice. Just focus, and the music will effortlessly take you further, and further, and further, into the beyond within. Deep and serious, yet light and uplifting, and so, so powerful. Truly devotional music.

On the B-side we find Deepbass taking the essence of the original into his signature trance-techno hybrid, suitable at any sequence of a DJ-set. We have already seen the track work wonders on dance floors up north.

Toffes Varld ends the journey perfectly with his unique eco-friendly style. The sound of an early, misty morning deep into the Varmland forests. where innocence and play still rule the environment. Wynja energy at its purest.

This is incredibly Trees Speak's third album on Soul Jazz Records to be released in the space of one year - and it's amazing! Trees Speak's new album 'PostHuman' once again blends 1970s German electronic and 'motorik' Krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), haunting and powerful 1960s & 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York no wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz's New York Noise series or Eno's New York No Wave)! Drawing further upon German krautrock high-concept albums from the likes of Tangerine Dream and Klaus Schulze from the 1970s, Trees Speak create their own powerful new landscapes of sound that manage to be at once contemporary as well as both timeless and with a sense of science-fiction futurism. Trees Speak' segue together all these elements into 'PostHuman,' which follows on from their criticallyacclaimed debut LP 'Ohms', and 'Shadow Forms' released on Soul Jazz Records less than six months ago. This powerful new album is a high-concept collage of retro-futurist science-fiction music, fantastically illustrated by the artist Eric Lee, a dramatic vision of life after humanity. Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona's natural desert landscapes. 'Trees Speak' relates to the idea of future technologies storing information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively. The album includes an exclusive bonus 45 single 'Machine Vision' and 'Seventh Mirror' that will only be available with the first order of the vinyl edition of this amazing and ground-breaking new album. With 'PostHuman,' Trees Speak once again manages to take the listener deep into their unique musical world of unknown visions of the past and the future.

Bakey has been smashing out hit after hit this year, sharing beats cooked up with his brother, Breaka and collabing with Bristol head Sam Binga. The young producer comes back to Time Is Now, following up the best-seller Take It Further EP from last year with a tasty five tracker of UKG experimentation.

Title track, "Bring It Back", uses a playful sound palette of 00s grime that swirls into a hardcore onslaught of breaks, bassline and screeching ruffage, kicking of the record with a statement. Manchester vocalist Slay joins the party on "Vibing Season", building up in long
atmospheric chords before Slay's bars spiral into play, pacey, dirty and clever over explosive glitches and ear candy pops. Bringing it right back down to minimalism with sparing two-step, "No Name Groove" features Kasia's soulful piano echoing throughout with call-and-response sampling, a classy take on early garage tracks.

On "Reduced Vision", otherworldly sub bass chases down vocal stabs, rumbling underneath this expansive heads down number. "Poison Dart" rounds off the instant hit EP with sirens, dnb tension and ragga mc lines.

One can’t overstate the size of the Fear Factory boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for over 30 years, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured, demanufactured, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs, industrial-tinged drums, electronic flourishes, and a scream/sing dichotomy, all of which became staples in heavy music, ever since the group first emerged in L.A.

Fear Factory headline major festivals; earned several awards from the international sales charts; toured with Black Sabbath, Slayer, Iron Maiden, and Metallica; and influenced generations of bands. But it’s the group’s commitment to unrelenting extremity and creative authenticity which ensured its place in heavy metal history, from the highly-revered Demanufacture to the similarly dominating Genexus. Songs like “Zero Signal,” “Shock,” and “Fear Campaign” are instantly recognizable anthems, as much a part of the musical DNA of modern metal subculture as the riffs and scream/sing style within them.

Fear Factory records are cinematic in scope; sonic landscapes, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films, from Ray Bradbury to Blade Runner. Aggression Continuum, the tenth studio album, is the culmination of three decades of unforgettable songs, performances, and forward-thinking storytelling concepts, while simultaneously rebooting Fear Factory onto a brilliant and excitingly unpredictable new path. Like the liquid metal T-1000 in the Terminator franchise or the Academy-Award winning reboot of Mad Max, Aggression Continuum is a turning point where what “was” transforms into what will be. It’s Fear Factory’s own Fury Road.

Aggression Continuum boasts the definitive attack of songs like “Recode,” “Distruptor,” and “Purity.” The riffs, concepts, and passion remain strong, as Fear Factory celebrates its past, present, and future. Whatever may come, Fear Factory will be there, a soundtrack to humankind’s uncertain times ahead.

South London genre-blending story tellers Alabama 3 are set to further add to their rich musical heritage with a new single ‘Whacked’, available April 30th via Submarine Cat Records, with an album to follow later in August.

‘Whacked’ is the first taste of fresh Alabama 3 material since the tragic passing of their beloved and unconventional frontman and songwriter Jake Black, aka The Very Reverend D. Wayne Love, in May of 2019. Jake had Addison’s disease and passed away several days after falling ill during a show at the Highest Point Festival in Lancashire at only 59 years old.

Then, with the Covid-19 pandemic and lockdown upon the world, the band got creative and submerged themselves in their music, teaming up with producer Cam Blackwood (George Ezra, Jack Savoretti, Tom Walker, Frank Carter and the Rattlesnakes…) to focus