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Past Inside The Present has really gone to town with the re-release of this 36 album The Lower Lights: it comes in several different formats and vinyl versions with this one being a limited, numbered and opaque red vinyl including a download code. Musically it is just as essential as a collection of tracks from a year-long 'Audio Diary' project undertaken by 36 between April 2018 and April 2019. It first came back in May 2019 and soon sold out, such is the quality of the vibrant and eclectic ambient sounds within. This is not sleep-inducing background material, but rather emotionally charged soundscaping with a mix of dark, futuristic and urgent pieces all making the cut.

Bone colour vinyl version of the recently released album (CD was released in May). Produced by Rick Rubin, this is a full bodied collection that flows like a stream of conscious journey through the psychedelic dark depths of the human psyche followed by basking in the cleansing light when finally reaching the surface. Continued promo/marketing activity.

Dry Tears is the latest release from the Bruto Industries label and their first release in 12" format. On this occasion, xKukum, one of the founding members of the label, presents his first EP.

The record, which was recorded in late 2020, traces an emotional journey from the distortion of reality caused by melancholy to the determination to move away from it. The EP consists of four original tracks that guide the listener through this journey, with influences from EBM, Dark Wave, Techno, and more. On side A, we find more introspective and melodic tracks, while side B offers sounds more focused on the dance floor. As a special addition, Colombian artist Filmmaker contributes a remix of the track "No More Dramas," complementing the atmosphere of the album with his characteristic powerful sound.

Like previous releases from the label, this work has been mastered by Dan Böhler, who has provided the EP with a sound quality that will not disappoint genre lovers. The artwork is done by Marcos Abella, who completes the concept with an imagery influenced by manga and cyberpunk aesthetics.

"Here is our first album. A gleeful and quaint celebration, expressing our love for making music together."

This album simply named ‘MUSIC’ by ROLROLROL (Jameszoo & Niels Broos) is a puttylike exercise in pop, modern jazz and electronic music. Building on an already extensive and longtime collaboration ranging from their work on Jameszoo’s three albums for ‘Brainfeeder' and Niels Broos’s two EP’s for ‘Alpha Pup’.

‘MUSIC’ was created over the span of some years, working out of multiple places occasionally joined by friends.

On June 16th, 2023, Steven Julien and Kyle Hall return with their first EP together in ten years, CROWN. The record follows earlier EPs the duo created under their former alias Funkinevil, 2013's Ignorant and 2012's Night/Dusk. The record once again brings together two artists from opposite sides of the pond—Julien hailing from London and Hall representing Detroit—with a shared love for soul in its purest essence.

Opening "Page 1", a pitched-down vocal by James Massiah pronounces, "My plan—won't let you take it from hand." That alone could be considered the nut graph of a record about taking ownership, created by two vanguards in the electronic music scene that, a decade ago, insisted on infusing their music with soul in a commercial club circuit lacking in it.

Assembled from a few years-worth of studio jams in Julien's studio, Crown dials up the staticky warmth present on earlier Funkinevil tracks like "Dusk" and "In The Grid." Across seven songs, Funkinevil shaves off some of their tougher elements, instead shooting for pastoral melodies and funky basslines, like on "Page 2", where Vicky Flint's flute flutters sleepily over breaks and a groovy Korg synthesizer. But the atmosphere on the EP is also grander than ever—on "Page 5," Cloud's wistful melisma soars over Flint's bleating saxophone and wandering sci-fi synths.

With all this attention to funky musicality, it's only fitting that two legends specializing in the craft would land on the B-side—Däm Funk revs up "Page 3" with a slamming kick and his unmistakable coolness, and Reggie B turns "Page 5" into a sludgy, jazzy dance party.

In the words of Julien, "I think a lot of people have forgotten about what this whole thing is about. Musically, artistry and everything. So I'm happy this is what we represent on this project."

Teenage Waitress returns with the new album 'Your Cuckoo'. This album is the follow up to the critically acclaimed debut Love & Chemicals. “Melodies and storytelling. . basically" is how Daniel J. Ash of Southampton’s Teenage Waitress describes his eagerly anticipated second album Your Cuckoo. “It’s a bunch of characters singing songs about love, youth, drugs, boredom and of course, dancing”. ‘Your Cuckoo’ is a leap forward in every way for Teenage Waitress. Ash’s trademark ‘story songs’ are set to a backdrop of irresistible melodies, colourful arrangements and impeccable production. While noticeably a more focused effort than Ash’s previous effort Love & Chemicals, this album still offers a little something for everyone. For the recording of ‘Your Cuckoo’ Ash recruited some of his musical friends to join him in the studio, adding a rich new layer of musicianship to his latest songs. “We basically wanted to go a step ahead from where we got to last time. . and I think we’ve done that” smiles Ash “I’ve been a perfectionist in every sense and annoyed a lot of people to get to this point. I hope it was worth it!

A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.

Wrocław and Lahore are almost 7,000 kilometers apart. And despite this immense distance that separates the EABS and Jaubi musicians,
the two bands find a surprising amount of common ground that determines their musical explorations. These include both a strong attachment to locality and respect for tradition, a penchant for weaving in some hip-hop elements, and the basis of a love of improvisation and spiritual jazz. It was therefore only a matter of time before they joined forces. And so, they proceeded to build a (cross)cultural bridge between Poland and Pakistan.

A bridge whose pillars are Hindustani ragas, polish jazz understood in a variety of ways, and brotherhood in sound. This merger's finale is surprising to such an extent that it is difficult to pigeonhole this collaboration in any way.

Since we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound old-time Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee & Nancy or George & Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison. The title track, Black Cat, Dark Horse is the sole Lloyd / Bean / Byrchmore composition and one of the record 's highlights. Jim Elkington, collaborator with Jeff Tweedy and Richard Thompson, contributes Heavy Reckonings and a song written with Janet, The True Lovers' Knot And The Lie, while Robert adds reworkings from past releases - Sweet Georgia Black and Black Country (with Pete) - not to mention the unreleased Eggs And Bacon. Janet brought One Shot and the unheard Freakwater song Arc Of A Smile. Covers of tunes from Dion and The Monkees and a magnificent Jon Langford song, "Tears Like Stars" round out the album. We daresay the album is among the finest you'll hear in 2023. That it doesn't fit perfectly into any preconceived genre is a testament to its quality. "Songcraft" is a word used infrequently today, yet Black Cat, Dark Horse will show that good songs endure. We're proud that Robert and Janet will find some new admirers through this album's release. The Michael Cumming / Stewart Lee film King Rocker made a case for Robert Lloyd-as-losthero; this album furthers that idea and shows a compelling side of Janet's talent and abilities which will be a surprise to her fans and serve as an entry point to exploring her many other compelling projects.

Jay - Jay Johanson 's 14th album is one of the most refreshing of his discography. After an introspective and intimate trilogy (“Bury the hatchet” (2017), “Kings Cross” (2019) “Rorschach Test” (2021), FETISH open a new era for the iconic Swedish artist. With this new album Jay - Jay Johanson explore the melancholic, aerial atmosphere that makes the DNA of his music with a cinematographic view. On the other side he offers songs made for the most elegant dancefloors with "Stars Aligns" and "Jeopardize" with their electronic hypnotic melodies. The new Album will drive you from intimate and lounge atmosphere to the dancefloor. An epic journey on the line of the most popular album of the artist. The opening track "Seine" is inspired by the one who disappeared in the water of the Seine in Paris in the 19th Century. It opens with all the romantism of Jay - Jay. "Finally“ sounds like a new classic, sampling the famous 3rd Symphony by Brahms, it reminds all the movies of the 50's calling the phantom of Chet Baker, one of his inspirations. The First part of the album is based on quartet of modern Jazz mixed with Jay - jay's Touch like in Puppet on a String. With the Uptempos "Jeopardize", "The Stars Align", "Summer Night of Love", he brings us from the NY voguing scene to the decadent Berlin clubs. Flesh For Frankenstein offers a rendition of the piano melody by Andy Wharol. One of the icon of the artist. The Album close on Happy Birthday, a smooth and shiny song, with his crooner and lovely voice that will ravish all the lovers. After 27 years of career, the prolific artist continue to deliver an ambitious and marvellous album that would be appreciate by the fans of the first area and the new ones who discovers him this last decade and with his live performances

Repress!

Second chapter of a new series. Simon Shaw and Dj Steaw fuses together bygone with vibrant synths and buoyant house rhythms to bring us four dance floor ready musings !

Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.

This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!

Mixed Coloured Vinyl

The duo of Parisian DJs and producers, Cléon & Jazzy Pidjay, are back under the name Last Bongo In Paris, with a new 7 inch full of Latin Funk & Jazz Funk atmosphere... With raw drums, heavy breaks and a jazzy flavor, these 3 tracks should quickly become a hit for all groovers and dancefloors!!

Cléon & Jazzy Pidjay have long been united by their love of hip-hop music and culture. DJ Cleon is one of the best French producers of breakdance fight music, also respected as a fine wax seeker, mixing all kinds of music, like disco, funk, soul, jazz, breakbeat, hip -hop and older and newer. recordings.

Alongside his pal Jazzy Pidjay and his great production and mixing skills, they give new dancefloor life to hidden and forgotten musical treasures, through funky uptempo tracks.

Das selbstbetitelte Debüt von ENVY OF NONE, der bunten Zusammenrottung von Gitarrist/Keyboarder Alf Annibalini, Rush-Gitarrist Alex Lifeson, Bassist Andy Curran (Coney Hatch) und Singer/Songwriterin Maiah Wynne war eine der spannendsten Grenzgänger-Platten des Jahres 2022 und hat sich bis heute nicht abgenutzt. Die Band schreibt schlicht verdammt gute, emotional greifbare und musikalisch fesselnde Lieder in einem Spannungsfeld aus State-of-the-Art-Elektronik und Rock/Pop-Tradition.

Die nun nachgeschobene EP "That Was Then, This Is Now" dient ihrem Titel entsprechend als Standortbestimmung und enthält zwei Tracks aus den Debüt-Sessions, zwei Remixe und das erste nach "Envy of None" komponierte ´That Was Then´. Stilistisch war das Quartett von Beginn an so vielseitig, dass man nun nicht von einer zusätzlichen Erweiterung ihres Repertoires sprechen kann - doch das famose Songwriting bleibt erhalten, und für Rush-Fans noch besser: Lifesons Spiel schimmert noch einen Tick präsenter durch.

´Lethe River´ ist dem Album-Opener ´Never Said I Love You´ relativ ähnlich, aber insgesamt doch ruhiger. Darauf folgt mit ´You´ll Be Sorry´ sachte brodelnder und zischender Industrial light, der ebenfalls auf "Envy of None" hätte stehen können - was ja auch plausibel erscheint, weil beide Stücke im gleichen Rutsch entstanden sind.

After the success of their previous "Get Mine/I'm Gone" 7" vinyl 45 release LRK Records is proud to announce the digital single follow up by Bella Brown & The Jealous Lovers!!

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted fromChicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female
leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditionalsoul and funk genres.

Their new single "What Will You Leave Behind" exemplifies this
ideal. The track is a heartfelt call to action in these times of failed humanity and injustice. A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present.

Look for "What Will You Leave Behind" March 3rd, 2023 on all streaming platforms, and stay tuned for an announcement from LRK Records regarding "What Will You Leave Behind" and a future Bella Brown & The Jealous Lovers 7" vinyl 45 released!

Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. We are now happy to present two of the most celebrated songs by the Colombian sisters together on a 45 for the first time. A Tropical funk pop gem! Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. These elements blended graciously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in their simplest forms. The songs of Elia y Elizabeth remain among us as part of the most wonderful pop legacy of all time. ‘Alegría’ and ‘Ponte Bajo el Sol’ are two of the most celebrated songs by the Colombian sisters. We are now happy to present them together on a 45 for the first time. TRACKLIST Side A Alegría Side B Ponte bajo el sol

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Fractions are back with "Dimension X," a release that signifies the beginning of their new music label, NRG TRAX. This release is a statement of purpose, cementing the duo's signature high-energy sound and 00s aesthetics.

"Dimension X" takes listeners on a sonic journey through the duo's musical influences, showcasing their love for The Prodigy-inspired infectious leads and breaks, EBM-infused basslines and fast-paced tempos that are dominating the current club scene. Paying tribute to their previous two releases on Dax J's Monnom Black, this release marks the start of a new era for Fractions as they continue to push the boundaries of uncompromising club music.

Get ready to be transported to another dimension.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

Warmongers run the newspapers, the daily podcasts, the social media feeds. Capital creates and harvests our despair. Cultural heroes are as money-mad as bankers, standing on corpses, wearing diamonds. The songs of this age are hopeless. In this world of lies, Spider Bite celebrate truth: raw, ragged, and full of brave energy, bravely dreaming of possible futures in the immediate and active now, in this exact and ever active present: after the flood, in the ruins of love.

Spider Bite is the sound of Daniel Romano (The Outfit, Ancient Shapes, Attack In Black), Ian Romano (Daniel Romano’s Outfit, Career Suicide) and Steven Lambke (Constantines) returning to their roots in the thriving pit of DIY punk with a perspective, skill, and energy that can only be gained from long experience in music, art, and stubborn cultural creation. Spider Bite began in the depths of the first COVID-19 lockdown, a world poised between protests and rebellions, when a fearful silence held its breath, twitching the curtains, and strange imaginations ran unleashed through dark streets. Long-time collaborators Daniel Romano and Steven Lambke, who together established the artist run record label You’ve Changed Records in 2009, and monster drummer Ian Romano chose this moment to indulge their shared love of energetic street punk, releasing the self-titled debut as a Bandcamp-only release in May 2020. The album was enthusiastically embraced and even cracked the best of lists on some of the more adventurous independent music blogs.

But still. Time passes. More wars. More storms. More ruin caused by greed. Spider Bite reconvened in the spring of 2022, recording The Rainbow and The Dove, an album that assembles the wisdom teachings of punk elders into a passionate rejection of settler-colonialism, environmental racism, and the general exploitation of the world by monarchs and resource extraction companies. Every moment is historical. Spider Bite celebrate a continuity of protest and refusal, and the communal joy of loud energy. Animated by a surprising humor and immense instrumental power, Spider Bite create a vibrant portrait of living in violent times.

Based in Berlin Max Newton & Matalo! have delivered percussion heavy funk and gritty Nuyorican rhythms on both GAMM and Take Away Records.
Their new release on Omena LTD continues on the same path and adds deep house and breezy latin flavours.

U-Bahn at Midnight sets things off sounding like a classic MCDE house jam with ringing melodies and sharp horns.
Walkin' On uses that classic Freddie Hubbard sample we all love and makes it even more classy.
On the flip Pao de Acucar vs Vesuvius is a 110% feel-good and summery TUNE, and finally Brooklyn Survivor ends things on a jazzier note with its deliciously deep, Disco-House groove.

A mighty fine way to close the Omena LTD series.

UK artist Jayson Wynters debuts on Pulp with four tracks of atmospheric house and funk that come complete with remixes by Jarren and Mogwaa.

Kung fu master Wynters hails from Birmingham and has been a key player on his local scene for years. More recently he has broken out with impressive EPs on mighty Dutch label Delsin and Adam Shelton's EON. He has a real love of hazy house and always brings his own unique take on that to his timeless analogue grooves. This latest EP was written during lockdown, which provided Jayson a chance to explore different sounds and delve into different styles.

Opener 'Solitude' proves that with its misty-eyed melodies and dreamy pads. The drums tumble loosely, the percussion has a frayed edge and the whole thing is coated in warmth and soul. Half Moon's Jarren is based in LA and brings plenty of that city's musical charm to his remix. It has far-sighted chords, soft-focus harmonics and well swung claps and drums that are simply irresistible.

Wynters then offers 'Corns Funk,' which pairs another dusty drum line with pinging kicks and woodpecker-like percussive hits. A superb twanging bass riff brings some real funk and retro-future feels as the groove builds and bright synths shine through the haze to enrich your soul.

'Night Drive' is a lush downbeat tune for sunset cruises. It has heart-melting chords that prompt deep inward reflection and features an aching guitar riff full of melancholy. The remixer for the one is Seoul musician and master beatmaker Mogwaa who layers in squelchy synth bass and dreamy, loved-up pads. Last of all, 'Uncle's Jam' is Dam Funk-style electro bliss doused in lo-fi chords and languid late-night funk and packed with romance.

Jayson Wynters shows off another superb side to his sound with his expansive Solitude EP.

Emile Mosseri is an Oscar and GRAMMY nominated artist, earning acclaim for his scores for the films Minari (2021) and The Last Black Man In San Francisco (2019) Recently worked with Kaitlyn Aurelia Smith on the critically acclaimed album, "I Could Be Your Dog / I Could Be Your Moon" (2022). On Heaven Hunters, Mosseri looks inwards, using his distinctive sound and gift for musical storytelling for his most personal work. Produced by The Haxan Cloak, Heaven Hunters explores the weight of choosing one path in life, putting to death every other possible future, and finding comfort in redefining happiness.

For Mosseri, the search for Heaven _ a concept of perpetual happiness void of suffering _ is a fruitless effort that blocks us from finding peace and balance in life as it really is. Driven by Mosseri's poignant lyrics and intimate singing, Heaven Hunters is a celebration of the highs and lows that create that equilibrium, built around songs of longing, love, heartbreak, familial struggle, and domestic bliss. It is a vulnerable, heartfelt album that is both expansive and cinematic in its dynamic scope and deeply stripped down and exposed in its emotional core, ready to be experienced as intimately as possible.

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Bristol’s Remotif makes his highly-awaited debut on space•lab with his wormhole of a new EP, ‘Substation Fever’. Kicking things off on the A side, the title track enters the scene with spacious, organic drums, building in energy as we tunnel through its course; travelling from the cool, oxygenated air of a forest-scape into dazzling, far-reaching intergalactic realms.

Next up, ‘Substation Fever’ gets a dreamy reimagining courtesy of Leeds legend and space•lab regular, Adam Pits. Channelling the energy of Remotif’s original into a hazy, blissed-out cloudscape, this track was made for accompanying early morning sunrises where orange-hued dashes of light reflect off the surface of gently rippling water.

On the flip side, ‘Hi Tek Lo Life’, crackles with the fluctuating electrical impulses of a TV without signal or a radio between channels. Flecked with corroded vocal samples and billowing synthlines, this is a track that explores the inbetween - the moment when connection is almost lost, but not quite. There is a beauty in the roughened-edges of these partially obscured details.

The final track of the EP, ‘The Signal Prevails’ is perhaps an answer to its precursor. Opening out onto trip-hop-esque terrain, this track follows the path set out by a blurred-out, echoing vocal as it deftly works its way through narrow, winding pathways of powerful 90s-style breaks.

A much-loved DJ regularly making an appearance on space•lab’s lineups, we are delighted to now showcase Remotif’s skill in the studio with this mind-opening new EP.

A recognize artist from the mouth to mouth is presenting this Ep on his own Label, Monotale Records, a part of Monotale's Instruments.

First track "Number 9" Begins with a barely intelligibly male vocal, that goes and comes in all kinds of glitchy processed ways, always surrounded by bass lines that comes from a non specific source or direction accompanied by pads who sustain the groove .
All of this mixed in a harsh rhythm that remains a classic techno house track.

Next track "If I was you..." is a lovely and capricious ambient passage with some blinks to pop songs inside, a very deep chords on synths that moves the track to another time/space.

The B sides opens with a energy, crazy, resonant and ever changing groove called "Creepy Little Heart", is a kind of track more close to breaks than techno and with some IDM remains of how is developed, cut it in the middle by a female vocal and morphing pads, it is the perfect balance between craziness and dance floor scenarios.

Second B side, "Manifest 9" closes the idea from the artist around the number 9. Is an unclassified style, maybe we can call it as a avant-garde propose, where there is no recognizable or obvious groove. The track is leading again by a male voice put it inside a glitch group of instruments and non standard mixing technics with thru all it is possible to hear a real manifest about music.

Gacha Bakradze releases his third album on Lapsus entitled "Pancakes", and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts.

The Georgian producer perceives the making of pancakes -a transformative and healing parental activity that he loves to partake in with his son- as a metaphor for alteration, metamorphosis and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances.

On a sonic level, Gacha’s new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. "Pancakes" provides the typically melancholic yet vibrant genetics already recognisable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridises IDM, electro, bass music and cutting edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

Jan Kincl, a Croatian artist with music released on BBE, Far Out, and Sonar Kollektiv, is launching his own label Cycle Records with an EP titled "For A Minute". Written and produced at Jan's Cycle Studio in Zagreb, the EP features two original tracks riding a thin line between techno and house, and a remix from Gene Hunt, one of the pioneering artists responsible for shaping the early sound of Chicago - "I loved the way the original had such an old school feel to it, jazzy vibes with a 70's touch. When I was asked to do a remix I was like yesssir! It reminds me of something that Moodymann would make. It contained a '94 vibe, Detroit and Chicago combo. Not to mention it was a totally different vibe for me, and I'm honored to be a part of something new and different." - said Gene about this collaboration.

"I was asked to remix this pop-rock hit when it came out 10 years ago, I loved the vocal and the idea of giving it a nu-disco flavor so I started working on it but unfortunately, I couldn’t deliver it on time. A few years later I finished the remix and started playing it in my DJ sets, the feedback is always great and I kept getting “track id” requests for it. So we talked about it with Paul Hammer from Savoir Adore, their label kindly agreed to license it to us, and here it is! This is the 20th release for Nano Rec on the 20th year anniversary of the label and after a 10 years break in which I was focused on a number of other musical projects and also amassed a lot of unreleased Spiller music that we’re now gonna bring to light." Spiller

Tenderly propelling and full of haunting melodies: Studio Mule re-issues Sakura Tsuruta’s so far digital only, self-released debut album “c / o” from november 2022.

An evocative first long player by Tokyo based artist, who was trained in classical piano during childhood, played with brass instruments, studied music production, and is today active as a composer, live performer, and versatile dj.

With “c / o” she expressed her personal history in a fluid, around 43-minute long light flooded, yet dark-ish musical vision. eight profoundly composed tracks, melding complex rhythms with emotional airs, tripping arpeggios, and ghostly sounds, slightly influenced by some of her fa-vorite artist like björk, holly herndon, or kaitlyn aurelia smith.

“c / o is a love letter for the experiences, people, and memories i had in the last two years that i spent producing this album. i also like that the letter “c” looks like an incomplete circle, whereas the letter “o” is a full circle.

In the KID BE KID superhero universe, the fact that she is not only a singer but also a virtuoso pianist goes without saying. So much talent in one person would hardly be bearable if KID BE KID wasn't, above all, such a lovable funky freak!
"Naked Times! No More Lies! Here I am strippin' straight in front of your eyes," she chants in a futuristic dress with a gigantic shoulder width, and in the video clip she skillfully oscillates between the authenticity of her live performance and the complete unreality of the production.
Musically, it sounds like a finely curated neo-soul record collection pushed through a 2030s cyber-sound AI. Except that with KID BE KID, the beats don't come from the hard drive, but from her body: Human Beat Boxing. So hip-hop community members are welcome to nod their heads here.

In the 10 songs contained on "Truly A Live Goal But No Ice Cream" KID BE KID reflects on our existence between Internet publicity and Home Sweet Home, in which the mere start of the day can become a regular challenge! KID BE KID arms herself against the personified time and gives it an ultimatum: "Don't you dare not be better than last year!". As a result, everything in her life as well as musically finally takes a turn for the better...

KID BE KID has been touring Europe almost non-stop since last summer, has been recording vocals for Netflix ("Rumsspringa") and, in her remaining free time, has been hanging out in the young Berlin jazz and abstract beats scene.
All these influences can now be heard on her fantastic new album, where KID BE KID seems extremely determined to make the world a little bit better with her art:
"We are here for a reason, Move! Be the better Move!", she challenges herself and us in her song "Move" and of course: KID BE KID is a movement we are only too happy to join in 2023.

She has been a celebrated sensation for years for her live performances anyway, so it's no wonder that she is only too happy to make fun of all the boring online productions, including bloated self-marketing in her lyrics: "You'll have to post 5 times a week, at least 5 videos and one pic, if not your audience won't grow".
But since we have all become little self-marketing monsters with the desire for constant virtual pats on the back, KID BE KID directs this criticism primarily at herself: "Of course: For love everybody seeks, But it makes me sick, to do so, too" it also says in the song ("News Feed").

Well, when this album comes out in June, the ice cream parlors should finally be open again in real life. Walking there, with KID BE KID on the AirPods, we make a few jumps of joy! Because, honestly? This is really so incredibly good.