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Jan Hertel, so CHAOZE ONE bürgerlicher Name, ist ein gesellschaftskritischer Rapper, Autor und Theaterschauspieler aus Mannheim. In seiner ersten aktiven Phase von 2000 bis 2009 veröffentlichte er zahlreiche Alben und EPs. Die Musik war immer Vehikel für seine politische Arbeit, die im Vordergrund seines künstlerischen Schaffens steht. 2019 veröffentlichte Hertel das Buch "Spielverderber - Mein Leben zwischen Rap & Antifa", in dem er seine musikalische wie politische Sozialisation beschreibt. "Venti" von CHAOZE ONE erscheint auf dem Hamburger Label Grand Hotel van Cleef. Auf dem Album finden sich 17 Stücke in knapp 70 Minuten. Als Gäste sind u.a. Torsun Burkhardt von Egotronic, Mal Éléve, Shana Supreme sowie Autor Jan Off und zahlreiche mehr zu hören. "Venti ist die erste Hip Hop-Platte auf GHvC, und der Opener Memento Moria / Die Welt brennt der erste echte Rap-Track auf unserem Label. Aber Genres sind egal. Denn beim Hören dieses Songs - auch beim vierhundertsten Mal - fangen und Gehirne und Herzen an zu glühen. Der Song und diese Platte umfasst all das, was wir denken und fühlen, wie wir Dinge sehen und was wir fordern. Und zwar ohne Zeige-, dafür ab und an aber gern mit Mittelfinger", lässt sich das Hamburger Label zitieren.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Donna’s ‘80s close-out album was 1989’s “ANOTHER PLACE AND TIME”, which paired her with multihit making, multi-million-selling UK producers Stock Aitken Waterman.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radiofriendly hit, peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest
charting single for more than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get
Hurt’ and ‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first
time since 1977, as well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• “ANOTHER PLACE AND TIME” spent 28 weeks on the UK Artist Albums Chart.
• This special edition revisits the original album on 180g Red Colour vinyl.

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Am 16. Juli veröffentlicht Fantasy Records “Layla Revisited (Live At LOCKN’)” der Tedeschi Trucks
Band - eine einmalige Live-Aufnahme des Derek & The Dominos-Albums “Layla and Other Assorted Love
Songs”, das mit Special Guest Trey Anastasio aufgeführt wird. Aufgenommen am 24. August 2019 auf
dem LOCKN’ Festival in Arrington, VA, fängt Layla Revisited die Tedeschi Trucks Band in ihrer besten
Form ein, wobei Anastasio die perfekte Ergänzung von Gitarrist Derek Trucks und Gitarristin/Sängerin
Susan Tedeschi darstellt.
Der Auftritt von Layla kam für die Fans völlig überraschend. Ursprünglich nur als ”Tedeschi Trucks Band
featuring Trey Anastasio” angekündigt, erwähnten die Künstler nichts von der Musik, die sie im Vorfeld
fleißig geprobt und geplant hatten. Aber die Verbindungen zwischen der Band und dem Album sind tief
in das Gewebe ihrer Existenz eingewoben. Angetrieben von zwei der größten Gitarristen des zwanzigsten
Jahrhunderts, Eric Clapton und Duane Allman, wurde Layla and Other Assorted Love Songs zufällig am
9. November 1970 veröffentlicht, dem Tag, an dem Susan Tedeschi geboren wurde. Später waren Chris
und Debbie Trucks solche Fans des Albums, dass sie inspiriert wurden, ihren erstgeborenen Sohn Derek zu
nennen. Jahrzehnte später war Trucks fünfzehn Jahre lang Mitglied der Allman Brothers Band und tourte
ausgiebig mit Clapton. Die Verbindung zwischen der Musik und den Interpreten ist so tief, dass sich dieses
Album fast schon vorherbestimmt anfühlt.

You may know Rodrigo Amarante already. You may have heard "Tuyo," his theme tune to the Netflix drama Narcos, or the Little Joy album, recorded with Fab Moretti and Binki Shapiro, you might have noted his name among the credits on songs by Gal Costa, Norah Jones and Gilberto Gil; or perhaps you saw him play live with Brazilian samba big band Orquestra Imperial, or with Rio rockers Los Hermanos; you really should have heard his debut album, Cavalo, released in 2014. You may think you know Rodrigo Amarante already, but Drama, his second solo album, is going to introduce a whole new level of confusion to the mix.

Drama is purposefully caricatural, cinematic; "As biased as memory". It flows as an arch, playfully deceiving, like a tale. The ominous opening number gives you a hint that things might not be what they appear, and clues are hiding in plain sight. "Projection,

attachment, deception: that is Drama." The sunny upbeat start of "Maré", with a nearly childish opening melody, echoes something less naïf: "The tide will fetch what the ebb brings". The beat helps you move past. "Tango" sounds like falling in love on the dance floor, warm and tropical, it celebrates companionship, while perhaps pleading for it, yearning. "Tara," meanwhile, feels like something Astrud Gilberto might have sung at the height of bossa nova’s global popularity, with the twist of the big-band-era muted horns on the chorus, nearly self-deprecating, as if mocking such idealized infatuation.

Drama closes with the piano on "The End." To live is to fall. After all the emotional upheavals the singer has put his cast through, is this some kind of farewell to this mortal coil? "Everything Furthers." says Amarante. "Whispering, you get louder like that, people respond better to an invitation," and adds: "Staring at the absurd while remaining kind, being open to the gifts of confusion; that's why we create these tools that are stories and songs, to help us see each other."

‘The Woman You Want’ is Eliza’s 2nd album to be released on July 16th the same day as the single ‘Fine & Peachy’ with a firm nod to the female greats of the 90s is a solid guitar/bass/drums indie classic in the making. Eliza’s vocal oozes a sardonic disquiet that immerses the listener into her fury culminating in an almost evangelical middle 8. The campaign so far has had support from Radio 1, 6 Music, BBC Intro, BBC Scotland, The Times, The Independent & Clash. 12 date UK tour is on sale for November and a major live event will go live on Sky Arts 15.7.21 ‘The real deal’ Guy Garvey (Elbow) BBC 6 Music. Available on CD and 'bottled green' vinyl formats.

To accompany the unrestrained awesomeness of DC’s Dark Nights: Death Metal comic series, execute producer / composer Tyler Bates (Guardians of the Galaxy, John Wick) present the Dark Nights: Death Metal soundtrack. Directly inspired by the comic series’ storyline, the diverse soundtrack illuminates the darkest corners of each DC character’s psyche. Available on CD, double blue vinyl, and exclusive double yellow vinyl for indie retailers. Features tracks from bands such as Mastadon, Soccer Mommy, Rise Against, Denzel Curry to name a few. TYLER BATES: Tyler Bates has become not only an artisan at architecting music for film, television, and video games, but an in-demand multi-instrumentalist, writer, and producer. His film credits include Dawn of the Dead (2004), 300 (2007), Watchmen (2009), several collaborations with Rob Zombie including The Devil's Rejects (2005), Halloween (2007), and Halloween II (2009), the Guardians of the Galaxy saga (2014, 2017), the John Wick series (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious Presents: Hobbs & Shaw (2019 ), and many more. “In Dark Nights: Death Metal, Loma Vista Recordings and I saw an opportunity to bring artists together to create a diverse soundtrack that is inspired directly by this incredible comic series. Our intent is not to literally create a death metal soundtrack, but instead, to illuminate the darkest corners of each character’s psyche from an authentic perspective that is thematically inherent in death metal music.” - Tyler Bates.

Im Jahr 2008 war Portugal. The Man seit etwas mehr als zwei Jahren eine Band und ritt auf einer kreativen Welle, wie man sie nur selten sieht. In den ersten zwei Jahren ihres Bestehens hat die Band drei Alben, eine EP und ein paar Singles veröffentlicht und dabei knapp 500 Shows gespielt. Die junge Band aus Alaska fuhr von Stadt zu Stadt, kaufte säckeweise Reis und gönnte sich nur selten etwas von ihrem Taco Bell-Feed The Beat-Geld. PTM waren engagiert. Sie beendeten die Tour im Dezember 2008 und anstatt eine dringend benötigte Pause einzulegen, trafen sie die Entscheidung, den Höhepunkt dessen aufzunehmen, was ihre Live-Performance geworden war. Sie fanden ein seltenes Juwel von einem Studio in den Vororten von Portland, und versammelten sich dort mit ihrem Live-Equipment und einer Handvoll Freunde mit Handkameras. Der langjährige Mitarbeiter und Filmemacher Graham (Baclagon) Agcaolli und der Tontechniker/Mixer Jacob Portrait (der später zu Unknown Mortal Orchestra stoßen sollte) halfen bei der Dokumentation. Sie spielten ihr komplettes Set einmal durch - ohne Nachvertonungen oder Overdubs - nur die Band in ihrer natürlichen Form. Ein paar Wochen später gingen sie ins Studio, um ihr nächstes Album, "The Satanic Satanist", aufzunehmen, und "Oregon City Sessions" wurde in ein Regal gestellt. Dort lag es über ein Jahrzehnt lang. Nur wenige sahen den ganzen Film. Die Band, ihr Manager oder Tour-Manager boten gelegentlich an, zu den Leuten nach Hause zu gehen und ihn für sie zu zeigen. Manchmal zeigte die Band auf dem Parkplatz eine Handvoll Songs für die lokalen Fans. Sie knüpften Freundschaften, aber wann immer sie gefragt wurden, war die Antwort: "Ja, wir werden das irgendwann veröffentlichen." Jetzt ist die Band seit über einem Jahr nicht mehr unterwegs, die mit Abstand längste Pause seit ihrer Gründung, und die Zeit scheint einfach reif. Hier ist "Oregon City Sessions", ausgegraben aus den Archiven. Unberührt, unverändert von dem Tag, an dem es fertiggestellt wurde. Es ist eine Zeitkapsel einer Band, die ihren Weg findet. Ein Schnappschuss von jungen, rohen Talenten, bevor sie Preise gewannen, bevor sie Millionen von Platten verkauften, bevor sie Headliner von Festivals waren. Nur ein paar Kids aus Alaska, die die Welt bereisen und Musik machen wollten.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

CHIWAX proudly welcomes Gene Hunt!
We are happy to present you some unreleased treasures from the 90's on "Volume One" EP!
Furthermore there will be another two releases out in 2021 from the Chicago Master. Stay tuned!

Temple is Ben Smith hailing from Adelaide.

4 juicy tracks from down under, skillfully written and performed in his
hardware packed studio. Further enhanced and balanced by Prins Thomas at Full Pupp HQ in Norway.

As one half of Red Axes, Dori Sadovnik could perhaps already stake a claim as one of the most prolific men in electronic music. A natural artist, Sadovnik is the sort of musician who never stops recording, a creator ahead of a consumer, well-adapted to a frenetic lifestyle.

This particular impulse has been funneled into a project known as Kapitan, an already expansive collection of tracks clocking in anywhere between 130 and 150 beats-per-minute.

As for a home, it just so happened that DJ Tennis, friend, collaborator and founder of Life and Death, was processing similar instincts, borne out of his love and association with the nineties heyday of IDM, pioneered by labels such as Warp and Rephlex.

“I don't really know what led me there but I had a feeling that I needed to be in the mountains”, explains Sadnovik. “I'm not a nature guy, nor do I feel particularly spiritual, but I was always struck by the harmony of it all. Everything is in the mix.”

This all-encompassing, blissful philosophy is deeply felt throughout this journey, a fluid blend of analogue and digital sounds rendered as organic as the landscape that inspires the album. Interlocking rhythms evolve into unexpected chamber pieces and bubbling acid lines blossom into rave psychedelia on opening tracks such as ‘Weird Day’ and ‘Flowers’, progressing to the sound of ‘Takak’, which inspires meditations on enormous bass weight, as mantras creep in from the surrounding forest of sound.

In the album’s second-half, this sincere sense of awe expands further still. Centrepiece tracks ‘In The Valley’ inspires a true sense of wonder and transcendence, complex rhythms blending with wide-eyed reverence. ‘Smile’ is trippy and innocent while ‘Elleven’ crackles with whispering energy over whiplash breakbeats. Concluding with ‘Heart’, Sadnovik reduces the pace to a stepping, heavy rhythm, commanding a deep sense of respect for the untamed wilderness that has served as such a unique muse.

Mit "I May Never See You Again" veröffentlicht der iranische Komponist, Musiker und Virtuose der Kamanche-Geige, Saba Alizadeh am 08. Juli 2021 sein erstes Album auf dem neu gegründeten Hamburger Label 30M. Wie schon auf seinem Debütalbum "Scattered Memories" aus dem Jahr 2019 vermischt der 37-jährige Saba Alizadeh seine instrumentale Virtuosität mit sphärischer Elektronik, Samples persischer Musikinstrumente und Feldaufnahmen aus seiner Heimatstadt Teheran. Geboren 1983 in Teheran als Sohn des weltberühmten Tar- und Setar-Virtuosen Hossein Alizadeh, studierte Saba die iranische Kamanche-Geige mit Saeed Farajpoury und Keyhan Kalhor sowie Fotografie und später experimentelle Klangkunst mit Mark Trayle am California Institute of the Arts, Los Angeles. Geprägt von den konzeptuellen Herangehensweisen, wie sie dort gelehrt wurden, basiert Saba Alizadeh seine Musik auf iranischen Traditionen und Skalen, um sie im nächsten Schritt zu dekonstruieren und zu abstrahieren. Im Ergebnis begeistern die neun meist instrumentalen Tracks auf "I May Never See You Again" als klanglich ausdifferenzierte Meditationen über das Thema Erinnerung - einerseits wird die Glaubwürdigkeit und Belastbarkeit der eigenen Erinnerung musikalisch seziert, andererseits geht Saba Alizadeh z.B. in dem Track "Silences Inbetween" durchaus auch konzeptuell vor, wenn er die Atempausen der Stille in Reden von Diktatoren aus vergangenen Zeiten in akustischen Hallräumen so sehr verstärkt, dass diese Stille als Distortion hörbar wird. "Wie", fragt Saba Alizadeh, "hätte sich die Weltgeschichte verändert, wenn das Publikum in diesen Atempausen nicht andächtig geschwiegen, sondern aufbegehrt hätte?" Das Schweigen der Massen, davon berichtet "Silences Inbetween", ist also keineswegs bloß neutraler Klang oder Geräusch, sondern es besteht aus hochgradig aufgeladenen Schwingungen, die, an historischen Orten bis zur Unkenntlichkeit amplifiziert, von einer (nicht eingetretenen) Utopie berichten, einem anderen Verlauf der Weltgeschichte. Es ist in diesem Sinne vermutlich eine Fügung des Schicksals, dass sich Saba Alizadeh 2016 in Berlin mit Andreas Spechtl, dem Sänger der Band Ja, Panik anfreundete, kurz bevor Spechtl im Rahmen einer Artist Residency für ein einige Monate nach Teheran zog. Andreas Spechtl wurde im deutschsprachigen Raum vor allem dank seiner Songtexte berühmt, in denen er die Wörter ähnlich abstrakt dekonstruiert wie Saba Alizadeh die Musik. Auf "I May Never See You Again" kollaborieren Spechtl und Alizadeh auf den beiden Tracks "Phasing Shadows" und "Touch". Saba Alizadeh kollaborierte zudem noch mit der elektroakustischen Soundkünstlerin Rojin Sharafi, einer gebürtigen Iranerin, die mittlerweile in Wien lebt. Mit ihr komponierte Saba den Track "Hybrid". Nicht zuletzt wegen der anhaltenden Pandemie arbeiteten die beiden virtuell zusammen, indem sie sich Tonspuren über das Internet austauschten - auch daher der Titel "Hybrid". Mit seinen handverlesenen Kollaborationen und vor allem dank seines ausdifferenzierten Klangraums ist "If I Ever See You Again" bereits jetzt eines der herausragenden elektroakustischen Alben des Jahres. Beeinflusst von iranischer Harmonik, Musique concrète und ausgefeilter, zukunftsweisender Beat Science stehen die insgesamt neun Songs von Saba Alizadeh für einen unfassbar spannenden Akt gegenseitiger Inspiration - wenn sich iranische Skalen und westliches elektroakustisches Verständnis kraftvoll vereinigen.

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

Second release of the year already from the party music people of Abstrack. This time, it’s Brussels based artist Strapontin whose original production is on the menu, with re interpretation from several gifted companions. The multitude here is no excuse for genericity or easy recipes, rather a fertile playground for toying around with a wide range of vibes and moods.

Matches is a poetic, sensual spoken-word piece. The song feels like a flower about to blossom, though with plenty of hybrid DNA in it. In the end it leaves the way wide open for further emotions to get through. And they do.

Sasnal Park is the emotion of wander : looking for something forever, but for what? The drums make you believe that you found it but they turn out to be a mirage, and so does every tangible element of the track. A beautiful journey in the end even if you don’t know where you’ve been.

Family Diner … no ambiguity this time : a mystical roller as dark as it is trippy. Or maybe more trippy. Either way, not sure you can resist dancing to this one played out loud. Lose yourself to screaming halfway through, but only to fall back well rooted in those dancing feet afterwards.

On the flip, remixers put it where they’re expected to : A Strange Wedding takes the wandering “Sasnal Park” on the Edge of trancy club music, closer to the roots of Abstrack parties.

Feon turns the belter “Family Diner” into a road roller : sirens and massive subs engage into a memorable fist fight.

And home man Vidock choses the very dreamlike “Matches”, adding quite a touch of dancefloor but not removing one inch of dream.

Following on from the success of 2020's 'Inside' EP on Livity Sound and previous releases on UK labels Cong Burn and Blank Mind, Manchester's Lack returns to Livity Sound with a brand new EP of hybridised and dubbed techno cuts.
“I wanted to try and create a sense of space or calm within the tracks, even if only subtle. I suppose it was a reflection on the crazy state of the world and needing to find space within myself to stay grounded and get through it”
From the deep bass and irresistible skank of Grapefruit to the rapid yet ice cool propulsion of Microshift and the spacious yet energised rhythms of Make It Circular and Constant, this new record further explores Lack's fractured techno aesthetic, skilfully joining the dots between broken dub techno and vintage dubstep.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Muck Spreader found a home in the London circuit, performing alongside the likes of Fat White Family, Wolf Alice, Warmduscher and Black Midi; though this is not an indication of their sound, which continues to be forever morphing, unique and uncategorizable. The band’s latest EP Abysmal is their first vinyl release and signals a louder and further departure into sonic experimentation.

The EP follows Rodeo Mistakes, released last year to acclaim from the likes of So Young Magazine, DIY, Dork, Huw Stephens at BBC 6music and Jack Saunders at BBC Radio 1. With Abysmal we find deranged screams and a music rich with filthy bass, sludgy guitar, shrieking saxophone, and glitchy effects. The drums anchor the chaos.
On EP openerTake Flight Muck Spreader offer the following: "Fasten your seatbelts, find your nearest exit, and in the event of an emergency please assume the brace position. It’s going to be a bumpy ride. You are now in the safe hands of Captain Frosty Theodore, and the crew will do everything in their power to Keep it Mucky Take Flight"

Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.

WHITE COLOURED VINYL

Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized

Pink Sweat$ has finally arrived with the unveiling of his highly anticipated debut album, PINK PLANET via Atlantic Records. PINK PLANET is a 16-track testament (plus 2 bonus tracks) to the Philadelphia rising superstar’s sonic abilities, luring in fans with ballads about his highs and lows, many successes and a heart-warming number from Pink along with family members. For his heartwarming debut, production credits include D Mile (Lucky Daye, H.E.R.), John Hill (Khalid), Rogét Chahayed (Drake, Miguel) and Michael Keenan.




PINK PLANET CD and vinyl will be available on 9th July. “Pink Planet is about love, it’s about inclusivity, and it’s about creative freedom. “As an artist you should have the ability to make whatever music feels good to you, and that’s what I tried to do with this album. Top to bottom, I’m giving a glimpse into my creative world; and I hope there’s a little something for everybody in it.” – Pink Sweat$




The new album includes eight brand new songs alongside six stellar tracks released in 2020 as THE PRELUDE EP, a token to fans adjusting to a new landscape surrounding the pandemic. His debut embodies a world that we aren’t living right now, with a purpose to heal and gift fans with a stellar project that speaks to listeners’ daily experiences. PINK PLANET further includes such captivating tracks as “Icy,” “17,” and the powerful “Not Alright,” all joined by official music videos streaming now at YouTube.




In 2021, Pink Sweat$ welcomes the year with a brand new remix to “At My Worst” featuring Kehlani, along with today’s release of his debut album, Pink Planet. Ultimately, Pink Sweat$ makes a statement by unapologetically bringing love to the forefront.

Back in print ! Spittle Records present an expanded reissue of Massacre's Killing Time, originally released in 1981. Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

“TINDOUF” is Savana Funk’s visionary new album. Eight tracks of powerful and psychedelic grooves recorded live on analog tape.

Known for their explosive live sound they have managed to fully capture the gutsy experience and raw energy of their show with a vintage aesthetic and a deep interplay cultivated with over a thousand concerts and countless hours playing together. The original line-up of Aldo Betto on guitar, Blake C. S. Franchetto on bass, and Youssef Ait Bouazza on drums has now expanded to a quartet adding Nicola Peruch on keyboards.
Nicola has worked with the band since their first album and finally become an official member being involved in all the phases of this release, from composing to recording.

The world-renowned trombonist Gianluca Petrella from Bari appears on one of the tracks, an acquaintance made by Savana Funk at the ‘Jova Beach Party' where the band left its mark during their live performances which included jams with Jovanotti in front of tens of thousands of people.

Max Castlunger, a percussionist from South Tyrol, has already been a guest on the band’s first album. Here, he is present on nearly every track, contributing greatly to the album’s soundscape. Furthermore, Elena Majoni is the violinist on the title track.

In the Italian panorama of the '70s, Chrisma (Christina Moser and Maurizio Arcieri) skirted the common rules of Italian pop (the aura of progressive rock or the first wave of prolific folk singers); in fact, they created Italian new wave from scratch. After the release of their 1977 debut album Chinese Restaurant (SPITTLE 051LP) -- so far from the punk revolution and so deep into the algid dynamics of the Mittel-European sound -- came Hibernation, their creative peak on which they embrace the revelation of the man-machine and venture into the realms of incomparable robots Kraftwerk. Again the album was produced by Niko Papathanassiou (brother of the Greek legend Vangelis), and it features very sophisticated cover artwork created by famous photographer Mario Convertino. Chrisma, so far ahead of their time, crafted an opus that should be considered at the same emotional level as the most famous synth-pop bands from the UK and Germany. Highlights include "Vetra Platz," a long digital ride worthy of the most famous Kraftwerk singles; "Calling" and "Gott Gott Electron," a primeval couplet of furious post-punk numbers; and the lush "Lover," with Miss Moser still in top form. This reissue includes the original artwork with a silver background. RIYL: T. Rex, Nico, Kraftwerk.

After completing their acclaimed folk-rock trilogy in 1979, Jethro Tull returned a year later with A, an album that introduced a different sound and a new line-up. Originally intended as a solo record by the band’s founder Ian Anderson, the album’s single-letter title refers to the studio tapes, which were marked “A” for Anderson. When the album was finished, the group’s label Chrysalis insisted that it be credited to Jethro Tull, even though only two members from the band’s previous incarnation were featured: Anderson and guitarist Martin Barre. Despite that, the album and subsequent tour were well-received by fans around the world.

Back in April, Rhino released ‘A’ (A La Mode) (The 40th Anniversary Edition), a new 3CD/3DVD set to mark the album’s anniversary. Featuring on this album anniversary set, we will release the 1LP breakout of the original album ‘A’, newly mixed by Steven Wilson.

Produced by Anderson and Robin Black, A was recorded in London during the summer of 1980 at Maison Rouge Mobile and Maison Rouge Studios. Along with Anderson and Barre, the band also featured Dave Pegg (bass, mandolin) and Mark Craney (drums), along with guest performer Eddie Jobson – a Roxy Music alumnus – on keyboard, synthesizer and electric violin.

After completing their acclaimed folk-rock trilogy in 1979, Jethro Tull returned a year later with A, an album that introduced a different sound and a new line-up. Originally intended as a solo record by the band’s founder Ian Anderson, the album’s single-letter title refers to the studio tapes, which were marked “A” for Anderson. When the album was finished, the group’s label Chrysalis insisted that it be credited to Jethro Tull, even though only two members from the band’s previous incarnation were featured: Anderson and guitarist Martin Barre. Despite that, the album and subsequent tour were well-received by fans around the world.

Back in April, Rhino released ‘A’ (A La Mode) (The 40th Anniversary Edition), a new 3CD/3DVD set to mark the album’s anniversary. Featuring on this album anniversary set, we will release the 1LP breakout of the original album ‘A’, newly mixed by Steven Wilson.

Produced by Anderson and Robin Black, A was recorded in London during the summer of 1980 at Maison Rouge Mobile and Maison Rouge Studios. Along with Anderson and Barre, the band also featured Dave Pegg (bass, mandolin) and Mark Craney (drums), along with guest performer Eddie Jobson – a Roxy Music alumnus – on keyboard, synthesizer and electric violin.

Manche kehren immer wieder in die Vergangenheit zurück um die Erinnerungen und Empfindungen von damals mit dem Hier und Jetzt zu vergleichen, während andere einfach nur stur nach vorne blicken - Lucy Dacus gehörte lange zur ersten Gruppe. Ihr drittes Album "Home Video" basiert auf Erinnerungen ihrer Coming-Of-Age-Jahre in Richmond, Virginia. Viele der Songs beginnen wie Memoiren und alle haben die Passion, den Humor und die Ehrlichkeit von erfrischend autobiographischen Texten. Während einer langen Zeit auf Tour hatte sich Lucy gefreut, endlich wieder Zeit in ihrer Heimatstadt verbringen zu können, nur um dort festzustellen, dass Menschen sie wie ein Zerrbild ihrer selbst betrachteten. So brach sie im August 2019 nach einem Monat der Stille kurzerhand auf, um in den Trace Horse Studios in Nashville mit ihren Freunden und Bandkollegen Jacob Blizard, Collin Pastore und Jake Finch an neuem Material zu arbeiten. Ihre boygenius Kolleginnen Phoebe Bridgers und Julien Baker stießen hinzu um ihre Stimmen den Refrains von "Please Stay" und "Going Going Gone" zu leihen. Dass "Home Video" in einer verwirrenden Zeit wie dieser erscheint, wirkt wie vorbestimmt. Nach mehr als einem Jahr zuhause und in einer Lebensphase in der Videocalls die nahezu einzige Form von Zwischenmenschlichkeit waren, ist Retroromantik für viele zum Anker und Fluchtpunkt gleichermaßen geworden. "Home Video" ist ein Beispiel dafür, wie man Verletzlichkeit in Stärke verwandelt. Ihre Stimme und Songs liefern dabei das Fundament für einen hoffnungsfrohen Blick in die Zukunft, der die teils düstere Vergangenheit im Rückspiegel verblassen lässt.

Die Liga der gewöhnlichen Gentlemen ... sind sie Troglodyten, welche mit heiligem Ernst über Hemden, Speiseeis und Ferien singen? Sind sie vollkommen aus der Zeit gefallen, mit ihrem aus zerkratzen alten Madness-, 60s-Pop-, A&M-, Northern-Soul-Platten destillierten DIY-Sound? Oder gerade deshalb modern? Schaffen sie nicht gerade aufgrund ihrer Sturheit stets etwas Eigenes, etwas Neues, ja etwas Modernes? Ja, Ja und nochmals Ja! möchte man nach Hören der "Gschichterln aus dem Park Café" ausrufen. Die Liga der gewöhnlichen Gentlemen ist die größte kleine Popband der Welt! Zumindest aber die größte kleine Popband West-Hamburgs.

Here comes a new 7 track EP titled 'WELTEN' by Ergin Erteber as successor to his self-titled debut album. Again it´s this instrumental, sometimes krauty, sometimes dreamy and unobtrusive sound that
is liked so much: very cinematic, very emotional, very personal in its stories.






f b2 I Will Never Leave You Again,? For The Rest Of My Life Feat. Doris
III

The first release from Toronto’s newest and most exciting Record Label, EastSide Edits! Limited run pressing of hand-stamped white labels, exclusive to release 001. Blessed by some of the top DJ’s in the world, this is sure to sell out fast! Donuts for the 45 slingers, and donuts for the House DJ’s, EastSide Edits brings a unique twist to the 45’s world by catering to both markets on each release. Carefully selected familiar Edits that work well in both environments is the name of their game! This first release has gained a lot of attention, with the test pressings being championed by some of the top turntable legends in the game. DJ Koco’s recent doubles routine and feature play of the B-side to this record has his massive following asking where to find it.

Side A is brought to you by the young wonder from New York, Pinto NYC. Pinto has been making quite the name for himself, signing music to some stellar House labels across the world, including the legendary Nervous Records, Glasgow Underground, and Simma Black. His upbeat and funky edit of “Rock with you” brings familiarity and energy sure to light the dance floor on fire! Creative sampling and pumping drums are his signature sound. This one hooks the listener early and smashes it home!

Side B is brought to you by the incredibly talented Toronto Disco duo, LeBaron James. LeBaron James are at the top of their game, pumping out high quality Disco Edits to a whole host of successful labels. Home base for them has been the incredibly successful Spacedisco label, run by Juno award winning Toronto artist, Hatiras. Their super catchy Disco edit of “Never gonna give my love again” will have you singing at the top of your lungs, feeling like you’re front and center at Studio 54! The vibe gets pushed even further into overdrive with the onset of a smooth and sexy sax solo that carries through the tail end of the record. This one has already proven to catch the ears of some major players across the globe! Don’t sleep on this white label. House DJ’s have responded overwhelmingly, and after watching DJ Koco’s Instagram routine we are confident that every 45 slinger in the UK will be digging for doubles on this one!

"(Don't) Hold Me Down" follows "In Conversation" as the second single from PM Warson's debut album "True Story", out on April 23 on vinyl LP, limited edition CD and digital formats.

The first version of "(Don't) Hold Me Down" with its Brit-edged Garage R'n'B and Latin Soul and a girl-group chorus that had developed as a key extension of his live sound, was released by PM Warson himself on a 7inch vinyl single and proved a winning formula for soul collectors. The independent pressing sold out within a couple of days, and it began to spin at clubs from Toronto to Barcelona, its value briefly skyrocketing on collector site Discogs. The song was later picked up by Fred Perry to underscore their 'Soul Boy' short film, further establishing his presence on the UK soul scene.

KAMA Kollektiv ist eine multinationale Gruppe um die junge finnische Sängerin und Trompeterin Kirsi-Marja "Kiki" Harju. Das Wort KAMA ist finnisch für "Dinge" oder "Zeug", und es beschreibt, worum es in der Musik der Band geht: die kleinen Dinge des Lebens, die oft so leicht übersehen werden. Kiki erzählt Geschichten - einige auf Finnisch, einige auf Englisch - über Liebe und Verwandlung, Wälder und Tiere, kleine alltägliche Freuden und eine mystische, romantische Sicht auf die Natur. Die Musik ist eine hypnotisierende Mischung aus Jazz, nordischem Folk und Indie-Pop. Sie nimmt die Zuhörer mit auf eine Reise in märchenhafte Länder und intensive Gefühle. Die Band ist in Amsterdam beheimatet, aber Kikis Songs sind voller Erinnerungen an die wunderschönen Landschaften, dunklen Wälder und den eisigen Frost ihrer Heimat Finnland. Der Titel des ersten Albums des KAMA Kollektiv ist KOTI, ein finnisches Wort für "Zuhause".

Analog Africa Presents Edo Funk Explosion Vol. 1, available on
2xLP/Gatefold LP with 20-page booklet / CD with 36-page booklet. It was
in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating
highlife music known as Edo Funk was born.
It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture
and fusing them with new sound effects coming from West Africa s night-clubs.
Unlike the rather polished 1980 s Nigerian disco productions coming out of the
international metropolis of Lagos Edo Funk was raw and reduced to its bare
minimum.
Someone was needed to channel this energy into a distinctive sound and Sir
Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo
took the skeletal structure of Edo music and relentless began fusing them with
synthesizers, electric guitars and 80 s effect racks which resulted in some of the
most outstanding Edo recordings ever made. An explosive spiced up brew with
an odd psychedelic note known as Edo Funk.
That’s the sound you’ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore
Joseph, Akaba Man, and Sir Victor Uwaifo: Osayomore Joseph was one of the
first musicians to bring the sound of the flute into the horn-dominated world
of highlife, and his skills as a performer made him a fixture on the Lagos scene.
When he returned to settle in Benin City in the mid 1970s - at the invitation of
the royal family - he devoted himself to the modernisation and electrification
of Edo music, using funk and Afro-beat as the building blocks for songs that
weren’t afraid to call out government corruption or confront the dark legacy of
Nigeria’s colonial past.
Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect
medium for his message in the trance-like grooves of Edo funk. With pulsating
rhythms awash in cosmic synth-fields and lyrics that express a deep personal
vision, he found great success at the dawn of the 1980s as one of Benin City’s
most persuasive ambassadors of funky highlife.
Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi
studios in his hometown of Benin City in 1978. Using his unique guitar style as
the mediating force between West-African highlife and the traditional rhythms
and melodies of Edo music, he had scored several hits in the early seventies,
but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths,
swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its
primal essence and use it as the foundation for their own excursions inward to
the heart of Edo culture and outward to the furthest limits of sonic alchemy.
The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration,
mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other.

Up to kick off 2021 in the most adequately frenzied, thoroughly corrosive fashion, DDS04 serves up a quintet of chrome-tanned, hi-velocity beats courtesy of Italian hardware fetishist Anna Funk Damage (previously heard on the likes of Mind Records, Lux Rec, Lazy Tapes and more) and Austrian-Hungarian outfit Dutch Courage - alias Superskin & Új Bála - each of whom step up to the plate to deliver an exquisitely ear-wormy slice of their deranged industrial gospel.

A-side starts off to the sound of AFD's hard bouncin' "48 Hours Death" - a raw-cooked deluge of head-reducing EBM grit, flaring binary signals and Giallo-infused arpeggios out a blood-stained Suspirian tale. Fear for the deadly scalp hunters lurking in the club's darkest nooks, they've just sniffed out your trail.

Brutal churner "Youssef" picks up the torch and pulls out the quake-inducing breaks without further ado, dressed out with languorous Orientalistic melodies and steely distortions tailored to bend mind by the dozens. Forged in the furnace, the full-out punk-minded "I Come From Fire" rounds off the side on a drum and bass-heavy note, drawing as much from 60s psych-garage as it does from 80s deconstructionist tape music.

Flip sides and here's Budapest unit Dutch Courage taking the reins with the off-kilter treat "Hand Of The Sword" - navigating a weird zone of its own, floating astride post-apocalyptic Bristol bass, sliced-and-diced abstraction and overly textured yet equally bone-bruising riddims.

Wrapping up the journey with both force and serenity, "Neo-Soulmates" follows a similar path with its warped synth flexions and raucous machine cries making the rounds from one end of the spectrum to the other effortlessly, merging to give birth to something genetically contrasting from any contemporary. A most fitting finale to an EP that celebrates and encourages sonic bizarro in all its forms and manifestations.

Wir haben gehört, dass Post-Punk es bis auf die Frühlingsseiten der Sunday Times geschafft hat. Oh, bleibt da dran - Desperate Journalist wüten schon seit gefühlten Äonen mit ihrer melodramatischen Mischung aus traumatisierten Gitarren und kunstvoll gebrochenem Gesang gegen den Konzern-Apparat. Sechs Jahre sind vergangen seit dem Erscheinen des teuflischen "Desperate Journalist"-Debuts in 2015. Das stürmische zweite Album "Grow Up" erschien 2017, während 2019 das stellare "The Search For The Miraculous" weit und breit zu hören war. "Maximum Sorrow!", das komplett in Crouch End inmitten der Covid-Pandemie aufgenommen wurde, strotzt nur so vor Alt-Rock-Muskeln, die in sieben Jahren unermüdlicher Auftritte und Veröffentlichungen aufgebaut wurden, wie ein wilder Panther auf der Pirsch. Angetrieben von Simon Drowners ohrwurmverdächtiger Bassline zeigt sich das Quartett schon beider Lead-Single "Fault" in makellos brutaler Form, mit Banshee-Heulen und selbstzerfleischenden Texten von Sängerin Jo Bevan: "And those teenage hangups are hard to beat / When your closet is piled up with defeat", schnauzt sie an einer besonders stacheligen Stelle, während ihr Gitarrist Rob Hardy und Schlagzeuger Caz Hellbent nur noch feuriges Öl in die akustischen Flammen gießen können. Wie ein Großteil des restlichen Albums ist "Fault" sowohl verspielt als auch voll mit Wut. Das sind Desperate Journalist in hyperdynamischer Form, superglatt, aber nie krankhaft glatt; ambitioniert und expansiv, aber immer noch selbstverliebt und durch und durch DIY. Es gibt traditionelle verzweifelte Reisen in das Herz der Dunkelheit - siehe die doomig-prägnanten Desintegrationen von "Armageddon". Und es gibt brillant beleuchtete Lichtblicke: die ohnmächtige Eleganz von "Utopia", die sardonische, melodieverliebte Frechheit von "Personality Girlfriend", die Ruhe von "Formaldehyde", ein tragisches Finale auf jedem anderen Album - hier als Opener. Ein Lob auch für die raumgreifenden, epischen Chorschübe von "Everything You Wanted" und die spektakulär bittersüßen Sehnsüchte von "What You're Scared Of", die mit verstreuten Zuckerwürfeln bestückt sind.

20 Jahre TURBOSTAAT galt es Anfang 2019 zu Feiern - die Band beschenkte sich selbst mit dem üppigen Livealbum NACHTBROT! Die Alben drei bis sieben der Band charteten allesamt, zweimal davonTop 20 und 2020 "Utlande" erstmals sogar Top 10. Die Live-CD sowie die neue Vinylversion 2021 ist via Cargo erhältlich: Doppel-LP, weißes Vinyl, 140 gr, Klappcover mit 16-seitigen Foro-Booklet in LP-Format! "Rückblickend ist es leider nicht mehr zu beantworten, ob überhaupt jemand von uns zur ersten Probe erschienen wäre, wenn wir damals gewusst hätten, dass das automatisch bedeutet, für die nächsten zwei Jahrzehnte Verpflichtungen zu haben. Unser erstes Konzert spielten wir am 08.05.1999 als eine von drei Bands im Husumer Speicher. Marten war im Besitz eines 8-Spur Tape Recorders, dem Yamaha MT8X, mit dem wir, so gut es eben ging, im Juli 1999 im eigenen Proberaum ein Demo mit fünf Liedern aufnahmen..." Der Rest ist Geschichte, dauert nun schon 20 ereignisreiche Jahre und ist nachzuvollziehen auf "Nachtbrot", dem ersten Turbostaat Live-Album. Aufgenommen bei drei aufeinanderfolgenden Konzerten im April 2018 im Conne Island in Leipzig. Ihr langjähriger Wegbegleiter und Freund Moses Schneider produzierte das Album. "Nachtbrot" liefert eine Zusammenfassung der Bandgeschichte, zusammen mit den stets wichtigsten Bandmitgliedern: ihren Fans. Denn Turbostaat stammen aus einer Szene, in der das Agieren auf Augenhöhe Teil der Definition von Punk ist. Wie immer, seit 20 Jahren, verabschiedet sich Jan nach jeder Show mit dem gleichen Satz: "Danke euch, dass wir das hier machen dürfen".