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Remixes JID020 is the twentieth installment in the Jazz Is Dead catalog. This remix album features London based artists Shabaka Hutchings and Theon Cross, New York tastemaker Melanie Charles, LA based producer Bei Ru, Brazil's Dj Nyack, Detroit based producer Tall Black Guy, Bay Area producer Mophono and the LA based house duo LO & Disko. Remixers sampled the previously released Jazz Is Dead records created by Adrian Younge, Ali Shaheed Muhammad and icons including the following: Lonnie Liston Smith, Jean Carne, Tony Allen, Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, and Katalyst.

Schema Records presents “Riviera”, the new album by Toco, one of the Milan-based label’s top artists with over 100 million digital streams, is finally released on 19 April 2024. “Riviera” pays tribute to the places where Toco grew up, and is the aesthetic synthesis of Toco’s varied songwriting, able to create true musical mosaics that mix pop lightness, poetic lyricism, desire, joy and pain. Mainly inspired by the tradition of samba and bossa nova, and contaminated with jazz, funk, pop and rock, the album alternates light and shadow in a balanced chiaroscuro enriched by friend and musical partner Stefano “S-Tone Inc.”


Tirone’s production. Anticipated by a series of singles that outlined its various facets and musical influences, Toco’s new album “Riviera” is finally released on 19 April 2024; ten years have passed since “Memoria”, filled with various collaborations and dedicated to this record itself, carefully curated in production and arrangements down to the smallest detail; this has been made possible thanks also to the presence of a large lineup of guests, including Toco’s labelmate Gianluca Petrella for the first time ever. The album’s title is a tribute to two places very dear to Toco: Riviera is the neighborhood in São Paulo where he spent his childhood, while Riviera Ligure is where he lived for a long time in Italy: two opposite shores and cultures that turned out to be fundamental in the artist’s formation.


“Riviera” is the aesthetic synthesis of Toco’s varied songwriting, able to create true musical mosaics that mix pop lightness, poetic lyricism, desire, joy and pain. Mainly inspired by the tradition of samba and bossa nova, and contaminated with jazz, funk, pop and rock, the al¬bum alternates light and shadow in a balanced chiaroscuro enriched by friend and musical partner Stefano “S-Tone Inc.” Tirone’s production. This collaboration further consolidates the duo’s fellowship that brush¬es magical sonorities on the different themes delivered. An excellent comeback!

2LP Repress!

Yosi Horikawa makes music quite unlike anything you've heard, music that reflects not only the appeal of rhythm and melodies but also the power and hidden musicality of everyday sounds. In that sense Horikawa is not just a producer or musician or sound artist: he is a world builder whose materials constantly surround us, though we rarely stop to appreciate them. Horikawa honed this approach for more than a decade, travelling far and wide to record forests, beaches, cities and people while never missing an opportunity to also find sounds closer to his home in Tokyo.

'Spaces' is Horikawa's new album, following from 2013's 'Vapor' released via London-based label First Word. This time the album is released on Borrowed Scenery, a new label setup by Horikawa and close collaborator Daisuke Tanabe to enable them to operate free of constraints.

The album features 11 songs that combine field recordings and sound design with a range of stylistic touch points: the fluid intricacies of hip-hop, the precise efficacy of IDM, the euphoric physicality of dance music, the humanity of acoustic instrumentation. Each song blends a primary sound source with a certain style, with titles often hinting at the origins of the sounds – "Moldy Vinyl," "Vietnam," "Fluid," "Swashers," "Nubia" – or the mood the music evokes. What ties it all together is Horikawa' s deeply personal understanding of what constitutes music, an understanding shorn from the commercial and stylistic structures of music as a commodity.

'Spaces' is a deeply human experience, and through Horikawa's approach music feels as natural as breathing. Horikawa has collaborated with French producer Fulgeance, American singer Jesse Boykins III and fellow Japanese experimentalist Daisuke Tanabe. His music has been supported by Gilles Peterson and Benji B. Outside of music Horikawa is an in-demand sound engineer and speaker designer who has worked with J-WAVE, Kengo Kuma, Mitsubishi and Sound & Bar Howl in Tokyo. 　　　 　　　　　　　　　　　

(by Laurent Fintoni / Original Cultures)

Conceived, written and recorded during the COVID pandemic, "King Perry" was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry"s last recorded performances on his False Idols label. Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry"s legendary touch, innovative studio techniques and production style.

Following on from his Mesh debut Jinjé returns with Escape from Luna, a four-track EP expanding further on the infinite sonic worlds of his solo production work.

Lead single and opening track ‘BBLO’ launches with a voyage into detailed textural layers, gliding through microscopic ambient-leaning compositions before dropping into a weighty electronic beat with touches of electro and dub.

As a founding member of the Leeds-based experimental band Vessels - an act acclaimed for their ability to defy categorisation - Lee Malcolm is no stranger to breaking the boundaries of genre. With his solo project, Jinjé, he delves into atypical sonic wanderings that navigate between acoustic and electronic, synthetic and organic, employing a learned ear for the fusion of seemingly disparate elements. For this latest release on Mesh, he hones in on these moments of coalescence, fusing various stylistic pieces together with an infectious sense of optimism and an open mind.

Jinjé steers his work across various genres not out of a desire to be referential, but out of a necessity to explore the peculiar spaces that sit between. Implementing this approach with a great understanding of musical production and spatial composition, ‘Escape from Luna’ stands as a crucial documentation of his craft.

Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay’s native Candombe rhythms with North American jazz and pop music, Opa’s space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago.

Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa’s first recordings using a four track TEAC 3340. The album would become home to some of Opa’s hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for.

Mysteriously (for reasons unknown to the band), Opa’s debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favourite albums: Goldenwings (1976) and Magic Time (1977).

Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal and Milton Nascimento. In more recent years Opa’s music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib.

For fans of Azymuth, Weather Report, Cortex and The Headhunters, Opa’s Back Home will be released on Vinyl LP and CD on the 8th March 2024 via Far Out Recordings

Edoardo Florio Di Grazia is a Cantautore (singer-songwriter) and story collector from the Amalfi coast, born in Florence and living in Paris, of a Neapolitan family..
Edoardo tries, like an antenna, to pick up signals and transform them into songs. Writing songs allows him to travel and unite distant worlds, to create imaginary landscapes on which to dream up new music: the Amalfi rocks of Tangier harbor can lead directly to a house in Belleville overlooking a Florentine piazza.

Edoardo is also a writer, with a PhD in medieval history from the University of Florence, a podcast author, radio show host, and DJ Selector, a compulsive Digger constantly on the lookout for the rare gem. He will publish next spring "Italia Express" the podcast produced by Radiooooo. It is a journey in five stages through the main Italian cities (Naples, Rome, Bologna, Milan, and Genoa) to discover music and history, from the post-war period to today.

After a first EP “Indossare Il Mare” released in June 2023, the spring of 2024 will see the release of “Ambra e Corallo”, Edoardo Florio Di Grazia’s first album, produced by the Parisian afro-beat label Comet Records (Tony Allen, Ebo Taylor, etc.). 9 songs about journeys, a small collection of stories found in the deep and mythological Mediterranean Sea. Like bottles in the sea, these songs belong to no one and are timeless, messages whispering us the dream of a new path to explore. The story of his first album, "Ambra e Corallo" has the flavor of a novel, the aftertaste of a contemporary fairy tale.

The vinyl includes a QR Code booklet featuring lyrics, liners notes, photos..

Repress!

It's five years since we first released Yosi Horikawa's 'Vapor' album. To commemorate the occassion, we're releasing the album on vinyl for the very first time, also including a previously unreleased bonus track, 'Yoggo'.

The devil is in the details. And Yosi Horikawa understands this perhaps better than most musicians from his generation, crafting compositions with broad appeal that also withstand the most intricate scrutiny. Originality has always been a rare currency in the creative arts, and having honed his voice over the years Yosi has plenty of it to give to those willing to listen.

The RBMA graduate has collaborated with artists such as Jesse Boykins III, Dorian Concept & Daisuke Tanabe, performed at Glastonbury, Sónar, Mutek, Dimensions, Low End Theory, Ninja Tune's Solid Steel & Boiler Room, featured in Time Out Tokyo, XLR8R, Dummy & more, and received acclaim and support from the likes of Benji B, Tom Ravenscroft, Fulgeance, DJ Food and Gilles Peterson, with whom he has worked with on several projects since the release of 'Vapor', for Brownswood, Worldwide Festival & Worldwide FM respectively, producing a regular feature, 'Soundscape with Yosi Horikawa'.

Besides writing and producing music, Yosi is a highly skilled sound engineer, working with prestigious architects, fashion brands, and technology firms as well as designing speakers for bars and clubs. He's also composed numerous jingles and theme songs for radio stations to science exhibitions. Such is his diversity and originality, he was the subject of an RBMA film documentary in 2014, 'Layered Memories'.

Following his debut EP on Eklektik Records, two EPs were released on First Word prior to this, his debut album, 'Vapor'. 17 tracks from the Japanese sound designer and producer that weave together diverse field recordings and sample sources, with rhythms and melodies, creating something that defies stylistic boxing. Echoes of dance music, hip hop and musique concrete can all be found amid the sounds of nature and everyday life that underpin the grooves of the music. 'Vapor' is an album in the old-fashioned sense, a tightly-woven sonic journey that benefits from repeat listens.

'Vapor' was named amongst 2013 Albums of the Year lists in Fact Magazine and The Japan Times.

"A sonic masterpiece and an entirely new pathway in to the matrix of emerging electronic creativity. Every piece on the album sounds boundless and full of texture & colour imaginable"

Earmilk: "A serendipitous mishmash of electronic, hip hop beats, and a litany of genres that fall in that spectrum with a liberal dose of acoustic magic

Repress!

For the upcoming release on KNTXT, label boss Charlotte de Witte announces a dual EP release. “The Selected EP and Pressure EP, to me, are the perfect reflection of the music I have been playing over the years.” says Charlotte de Witte. “On the Selected EP people will find the straightforward Techno sound with the Acid twist, that I love to bring to the floor when I’m touring.”
“It’s counterpart, the Pressure Ep, is an extension of the mixes that I assemble for my BBC Residency.

A more ambient approach, that’s rougher around the edges.” “Both releases can be seen as an ode to the techno I love and cherish.” concludes de Witte. On the subject of the dual release Charlotte says “For me this duality is essential to explore my interests both as a producer and DJ. Therefore it also made sense to me to release them simultaneously, as we also combine our label releases with events and our weekly radio show.”

Until now, Art Feynman _ the eccentric alter ego of accomplished producer Luke Temple _ has strictly been a solo act, a way for the artist to explore surprising sonic landscapes without the burdens of identity. Slightly twisted takes on Kosmische Musik, worldbeat, and art pop can all be found scattered across the Art Feynman discography, but with his new album Be Good The Crazy Boys, Feynman fully immerses himself into pools of collective madness Unlike his first two albums, Crazy Boys was recorded live in the studio with a full band, a first for Feynman, capturing a spirit of restless anxiety that recalls the most frenetic work by Talking Heads, or Oingo Boingo at their darkest. Despite these callbacks, the collection remains firmly rooted in modern concerns, with songs about fearing the end of the world and struggling with FOMO _ narratives that would be relatable if they didn't sound so completely unhinged. With Be Good The Crazy Boys, Art Feynman proves to be more than just a character. He represents the part of the modern collective consciousness that's struggling to maintain balance in a toxic, chaotic world. In less skilled hands, that concept could result in a very somber listen. Fortunately, when Art Feynman gets his hands on the chaos of the modern age, it simply makes you want to dance.

Soul Jazz of the First Order from Robert Dubwise Browne with two epic takes on tunes that should be in every DJ's grab bag of goodies. Sun Goddess originally by Ramsey Lewis and written by Earth, Wind and Fire's Maurice White together with a Ruff and Tuff version of the Grover Washington Jazz Funk classic "Mister Magic" featuring Jamaican Sax Man Dean Fraser. Guitarist Browne's appearance credits include the likes of his father Dennis Brown, as well as Gregory Isaacs, Beres Hammond and Toots Hibbert.. Produced by Japanese Reggae Legend Hayassen for his label Vortex and signed up on first hearing by Jazz Room Supremo Paul Murphy. If you've got a dancefloor you need these tunes!

4 track 7” on green vinyl . Individual hand painted sleeves. Limited to 500 copies
worldwide. Includes poster.
Part of the Optic Sevens 5.0 Reissue Series.
Originally released in 1986 on Australian label Voyeur Records.
This is the first time that the single has been released in the UK.
Even As We Speak is an indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals.)
After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band’s ‘Goes So Slow’ Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records.
The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

2024 heißt es 20 JAHRE CHINESE MAN (RECORDS)! Das aus Südfrankreich stammende Trio Chinese Man (bestehend aus High Ku, Matteo & Sly) tritt seit seiner ersten VÖ unabhängig unter der Fahne des eigenen Label Chinese Man Records auf. Gegründet 2004, beziehen sie ihre Einflüsse vor allem aus dem Hip-Hop, Trip-Hop, aber auch aus Dub, Electro und Reggae. Mit über 600 Shows weltweit im Rücken, kehrt die Band 2024 für ihrem dritten richtigem Album zurück, eund einer explosiven Live-Show. Dieses neue Album wurde in den Studios des Labels in Marseille sowie in Paris, im Studio Zarma und im berühmten Studio Ferber in Paris aufgenommen, insbesondere mit dem Orchester "L'Ensemble Hors Champ". Die Leitung des Orchesters wurde Gilles Alonzo anvertraut, einem der Gruppe nahestehenden Musiker, der die Orchesterparts für sechs der 13 Titel des Albums mitkomponiert und arrangiert hat. Zu den Gästen des Albums gehören z.B. General Elektriks, KT Gorique, Stylo G, Isadora, Youthstar & Miscellaneous, FP & Green T (ASM) und Stogie T. Die Gruppe hat außerdem Ferdinand Lemoine für Bläserarrangements eingeladen. Lemoine hat bereits mit dem Funk-Produzenten Dabeull und der Pianistin Sofiane Pamart zusammengearbeitet. Wie schon bei ihrem ersten Album vor zehn Jahren hat die Gruppe beschlossen, Sodi (Studio Zarma) für die Koproduktion und den Mix des neuen Albums sowie Antoine Chabert (Studio Chab) für das Mastering zu engagieren. Die Gruppe kehrt mit dem Wunsch zurück, ihr Album einem erneut größeren Publikum zu präsentieren. Drei Vorab-Singles bereiten dafür bereits den Weg.Doppel-LP (schwarzes Vinyl) sowie CD!

The second in our Mr Bongo series opening the vault on classic recordings from the fabled Groove Merchant Records catalogue. This time the spotlight turns to the Hammond B3 organ maestro Lonnie Smith, as we proudly present a reissue of his cosmic jazz-funk journey, ‘Afro-Desia’.

Originally released in 1975, this much-loved album was produced by Groove Merchant label owner Sonny Lester and features the mysterious 'Compliments Of A Friend' on guitar. Considering Smith was part of George Benson’s quartet in the ‘60s, that not so discreet veil appears to have been lifted on who this ‘friend’ might be. However, presumably due to contractual reasons, Benson had to remain covert for this recording. The lineup doesn’t stop there though, with the likes of legendary bassist Ron Carter and Grammy award winning saxophonist Joe Lavano joining the outfit.

An album of two parts, the first side sees Lonnie Smith in a spaced-out, cosmic jazz funk setting. The opener 'Afrodesia' is a funk flexing, steamy groover. Greg Hopkins and Lavano trading off on trumpet and sax respectively, as that bassline walks its way over fluttering jazz percussion and off-kilter electronics. 'Spirits Free' is an epic 15-minute free-wheeling jazz-funk workout. A mind melting trip that rises and falls, in parts spacey and serene, with Smith’s organ playing complimented by stretched out horns. Before long it opens out into unconstrained fluid sections that do its title proud. Pure ‘70s jazz-funk at its most stellar.

Side B takes a more classic soul-jazz flavour, with touches of Latin spice. 'Straight To The Point' kicks off with a carnival zing, full-frontal horn and organ lines providing a fiery party punch. It’s a swinging jazz cut that used to receive spins by DJs at Russ Dewbury's Jazz Room's sessions in Brighton in the ‘90s.

Finally, 'Favors' and 'The Awakening' close out the release. Two sure shot, quintessential Lonnie Smith firing Hammond grooves. Each conjuring up images of packed out, smokey jazz bar jams, every player letting loose with masterful improv sections to whip the crowd up into a frenzy.

A truly wonderful album, and an archetypal release showcasing the height of jazz musician excellence from this era.

Synthesizers, Tape Recorders and Analog Machines come together into an enchanting atmospheric album reminis-cent of Eno´s, Jarre´s or Vangelis´ space-romantic compositions.
Resonance is the artistic alias of Javier Pérez Rodríguez, a Canary Islands based producer who began his musical activity in the late nineties, blending cinematic experimental music with dancefloor sounds. After releasing several club-focused releases in recent times, he now presents this new departure - a synth based album for a soundtrack to a non-existent film featuring dreamlike compositions, filled with long, immersive passages that effortlessly blend ele-ments of electronic, ambient, and progressive rock music.
'Valediction' is an ambient ode, an emotional missive departing from a personal and intimate space and expands it to the universe - the cosmos expressed through a lens of ideas and concepts that contrast with its compositional com-plexity. Through this work, the author bids farewell to a stage of his life whilst presenting a new born optimistic and mature vision of parting, naturally transitioning to another phase without collision - a romantic and optimistic escape towards the reality of a recent sensitive time, which may not have been better, but perhaps it was.
'Valediction' is Resonance's spontaneous yet conscious escape to the most endearing realms of his own inner uni-verse, subsequently projecting it outward, in a sharing statement to whoever is willing to listen.
All songs by Javier Pérez Rodríguez
Mastered by Resonance, supervised by Eddy Méndez
Artwork by Aristides Garcia
Released by Keroxen records, 2024

You Only Live 2wice is the third studio album from Freddie Gibbs. Following a tumultuous time in Gibbs’ personal life, the album focuses on Freddie overcoming his obstacles and rising from the ashes anew, as reflected in the album art depicting the resurrection of Jesus. At 8 tracks, the album has no features, instead using the space to let Gibbs bear his soul. The album includes the chilling violin-laced single, “Crushed Glass,” as well as standout hits, “20 Karat Jesus,” &”Amnesia.” Executive produced by Ben “Lambo” Lambert & Gibbs himself, the album sees production from BADBADNOTGOOD, Kaytranada, Speakerbomb, Dupri, Jay Nari, Teddy Walton, Blair Norf & more. Back in print for the first time since its initial release and pressed on Opaque Red vinyl.

One of the longest-serving and most consistently intriguing artists within the fold of Phantasy, U returns to the label with another two-track trip of sonic mystery and erratic magic, ‘Parade/Watchers’.

Presented on limited-pressing 12” vinyl with a sleeve riso printed by U with London's Error Press.

With the texture and earthy promise of a psychedelic mulch, ‘Parade’ presents a glorious timelapse of acid-inflected minimalism. Unfolding defiantly at nearly fifteen minutes, U’s driving but subtle composition transports from guttural, electronic uncertainty to a wide-eyed denouement in one illusionary transition.

With inverse effect but no less power, ‘Watchers’ unexpectedly drops listeners into a rough wash of digital hardcore, spinning it’s initial warehouse chords into a collage of decay and regrowth, a nephilim-scaled journey and arguably U’s most ambitious production to date.

You are listening to a Studio Teepdek production

Performed by The Kryng
Mark ten Hoor - guitar
Peter Kroes - bass
Arjan Spies - drums, guitar

Paul Zoontjens plays the Planet and piano on 'Laisse-Moi Faire!'

Recorded, produced, mixed and mastered by Arjan Spies at Studio Teepdek

Lyrics translated by Lou Szymanowski

DJ 3000 Drops "Work In Progress" from the Album "Mezë" – An Ode to Detroit's Unique Sound

DJ 3000, the trailblazing figure in electronic music, unveils "Work In Progress," an electrifying track extracted from his latest album "Mezë." This song is a testament to the essence of Detroit's music scene, where the bassline reigns supreme, and less is indeed more.

"'Work In Progress' is all about that bassline," explains DJ 3000. "I wanted to capture the raw energy and infectious groove that defines Detroit's sound. The combination of a captivating bassline with a catchy vocal creates an irresistible vibe that's impossible to resist."

As the track evolved during production, DJ 3000 felt compelled to introduce stabs, adding an extra layer of Detroit funk that elevates the song to new heights. This infusion of elements reflects his deep-rooted love for Carhartt and Carhartt WIP, paying homage to both fashion and music in a seamless blend of urban culture and sonic innovation.

Joining DJ 3000 on the EP are two Detroit icons, Jon Dixon and DJ Godfather, each offering their unique take on "Work In Progress" through exhilarating remixes. Jon Dixon infuses soulful melodies and driving beats, while DJ Godfather injects his signature energy, resulting in remixes that push the boundaries of sonic exploration.

In addition to "Work In Progress," the EP features an exclusive unreleased tune titled "Kazani,” showcasing DJ 3000's commitment to delivering fresh and innovative sounds to his audience.

"Work In Progress" is not just a track; it's a celebration of Detroit's rich musical heritage and DJ 3000's dedication to pushing the boundaries of electronic music.

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Burning Bush", a classic ode to herb smoking. Originally issued on the Fox Fire imprint, re-presented using the same Fox Fire design as used on the original, which is one of our favorite label designs of all time!

A globally-renowned selector whose ‘Mastermix’ series and impactful, diverse DJ sets have garnered a cult following for the past decade, Numbers co-founder Jackmaster has seen his focus shifted towards his blossoming discography of late, releasing material via Seth Troxler’s Slacker 85, The Martinez Brothers’ Cuttin’ Headz and CircoLoco Records, plus his own TDSR imprint. Here, he continues to showcase his studio nouse with an impressive label debut on Damian Lazarus’ Crosstown Rebels, unveiling two new original productions across his latest EP, ‘Don’t You Want My Lovin’.

Vibrant, deep and jackin’, featuring resonant stabs, skippy drums and soulful vocals at its core, the bubbly ‘Don’t You Want My Lovin’ is a punchy slice of house crafted for bustling dancefloors, while the airy and trippy ‘Ode 2 U’ takes things into more paired back territories and journeys through vast textures to unveil a wormhole of a production.

Needing little introduction, Chicago’s finest and house music icon, Mike Dunn, steps up on remix duties as he makes his first outing on the renowned imprint. His aptly titled ‘Blackball 303’ interpretation is precisely that: a wicked, acid-laced trip harnessing the original’s infectious vocal while offering an instrumental for those looking to keep things darker.

Jon Langford's been in more bands than you have digits and that's true even if you were born with a few extras! From his early days in Mekons, Delta 5, Three Johns and even Sisters Of Mercy (booted for not wearing black) to a veritable explosion of one-off recordings and performances with more names than we could ever hope to list in full. A Wikipedia description for this group, The Bright Shiners (described therein as 'circa 2022 through at least 2023, in Northern California') provides some sense of the complex taxonomy needed just to keep track of Jon's massive oeuvre. Happily, that's an understated description of a serious new outlet for his endless creativity, and The Bright Shiners' recording activities have produced a full album, Where It Really Starts, the first recording in a collaboration with Tamineh Gueramy, Alice Spencer, and Jon's frequent musical partner, John Szymanski. Jon's never sung or written better, and the sense that the band realised they were onto something great is palpable in an instant. Each song is a minimalistic jewel - there's nothing here that doesn't need to be - yet the album is unsparing of aptly astonishing adornment - wonderful harmonies, horns, mellotron, bowed guitar, piano. looped percussion and more), by our reckoning this is one of Jon's finest works of art and his best outfit outside The Mekons themselves Jon Langford & the Bright Shiners will tour mercilessly throughout 2024.

Man Power debuts on Rekids with ‘We Trawl The Hurts’ ft Louisahhh. The duo’s first collaboration, a huge spoken vocal house cut, comes alongside three interpretations from Deetron.

DJ, producer, promoter, composer, and cultural agitator Man Power makes his debut on Radio Slave’s Rekids with ‘We Trawl The Hurts’ featuring Louisahhh on 12th April. The first fruits of a long-term friendship see Man Power (Me Me Me/Throne of Blood/Optimo) serving up a stomping, big-room cut that tips its hat to late-90s NY house and serves as a bed for the inimitable Louisahhh’s (RAAR) breathy vocal delivery of classic Prefab Sprout lyrics.

An intimate, spoken-word vocal from Louisahh weaves through a world of vibrant pads and chords. The gorgeous lyricism of their ‘We Trawl The Hurts’ is underpinned by an uplifting and emotive swirl of melody and a rock-steady beat. Man Power’s love of Murk and Tenaglia shines through.

The evergreen Deetron delivers three versions of ‘We Trawl The Hurt’s ft Louisahhh’: a remix that flips the original into a thumping deep techno cut featuring loopy synths and pixelated leads, a stripped-back and powerful dub, and his DJ tool ‘drum and bass’, built for those who like to mix.

Warehouse Find!

Son Of Sound aka Henry Maldonado has been producing influential house music dating back right back to 1991.
He has released on Strictly Rhythm as House 2 House, Maxi Records as Deja Vu and MAW Records as Rhythm Section.
Son Of Sound has recently appeared on Tirk and Local Talk before dropping the bomb that is Jewel Eye Nights on Jus Ed's Underground Quality. He also has releases scheduled for later in the year on Razor n Tape and City Fly.
Currently working on a collaboration EP with Recloose for his own District 30 Label. Henry is also host of the highly regarded 'Hit It and Quit It' radio show on The Lot and East Village radio with Recloose and Private Panther.

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

First reissue of this ultra-rare reggae album originally released in 1974. Considered by many to be the first reggae "lovers" album ever, conceived by producer Clement Bushay and reggae singer Carl Bert.
Featuring: The Cimarons, Jackie Parris, Junior English, Dego Sensation. Engineers: Steve Wadey, Clem Bushay and Lee Perry ... Four unreleased tracks from the original versions are included here!

Reissued for the very first time on vinyl here's Prince Alla's (aka Keith Blake) debut album, under the Ras Allah pseudonym, originally released on Tappa Zukie's Stars Records in 1978. Featuring a who's who of the roots reggae community with top notch contributions from the likes of Sly & Robbie, Earl ‘Chinna’ Smith, Don Drummond Jr., Bingy Bunny (Roots Radics) and more. Recorded at the almighty Black Ark and mixed at Tubby's. Produced and Arranged by Tappa Zukie.

Silent, Listening ist eine essentielle Ergänzung zu ECMs renommierter Reihe von Solo-Klavieraufnahmen mit einem der herausragendsten improvisierenden Pianisten unserer Zeit: Fred Hersch. Das Album umfasst sieben Eigenkompositionen sowie eine Handvoll Standards, darunter Billy Strayhorns ”Star-Crossed Lovers”, Sigmund Rombergs ”Softly, As In A Morning Sunrise”, Alec Wilders ”Winter Of My Discontent” und Russ Freemans ”The Wind”. Hersch geht die Musik durchweg mit jener seltenen Konzentration, Sensibilität und Eleganz an, für die der Jazz-Doyen bekannt ist. Das Album wurde mit dem Produzenten Manfred Eicher in der besonderen Akustik des Studios in Lugano entwickelt und im Mai 2023 aufgenommen.

Norman Connors' 'She's Gone' is a timeless blend of Soul and R&B from his 1981 album, 'Mr C'. 43 years since its initial release, 'She’s Gone' still endures as a masterpiece, showcasing Connors' musical prowess and ability to create unforgettable compositions. Lush arrangements, masterful instrumentation, and heartfelt vocals define the track with Norman Connors seamlessly fusing horns, strings, and rhythm instruments for a rich sonic experience. This 7'' heavyweight vinyl single, presented here exclusively for RSD is the first time this single has been available since 1981 & gives fans old and new the chance to own a slice of this classic, in demand Norman Connors production. remastered, but with slick early 80's aesthetics as was.

2024 RSD Release

The ascending soul sensation Fat Generous embarks on a heavenly collaboration Wai Wan. This record is an invitation to their soulful world of jazz influenced funk and R&B, Fat Generous have been making waves in their hometown playing alongside the likes of Fatboy Slim and Sister Sledge, and their raw onstage energy has gained the stamp of approval from the godfather funk himself, George Clinton. Recorded at the height of a record breaking heatwave, Fat Generous have captured the blissful respite of a 'NightTime Cool Breeze' in a silky laid back groover that formed their debut single back in September. Amassing over 30,000 streams in the first month, alongside radio play and feedback from the likes of Craig Charles & Giles Peterson. Channeling carefree vibes reminiscent of Roy Ayers’ 'Everybody Loves The Sunshine'. On the second side a Record Store Day exclusive track 'Shake Your Body Down' 'Shake Your Body Down' is an unparalleled journey through the funk filled cosmos, a collector's dream that pays homage to the pioneers of funk while paving the way for a new era of groove. This release is the precursor to a bigger release schedule for the band a good vibes only DIY recording project that has been produced by legendary nujazz producer, Wai Wan, whose fingerprints can be found all over releases on Chrysalis Records and Virgin Records. This record is a scene setter that introduces you to the groovy rhythms that Fat Generous deliver in excess at each of their live shows unique performances that lean on the group’s tight knit ability to improvise and reimagine their own music. Limited edition heavyweight 7 inch vinyl in a picture sleeve. Get the debut release and you're ahead of the curve.

Toe is a Japanese music group long revered in post-rock circles, while their song structures and dynamics have taken on elements from all styles of music, ranging from math-rock, jazz, pop, and R&B. toe is composed of Kashikura Takashi on drums, Mino Takaaki on guitar, Yamane Satoshi on bass guitar, and Yamazaki Hirokazu on guitar. The band has formally played with this lineup since their inception in 1998. The vast majority of the music is instrumental and features the swift, agile drumming of Takashi. The band is also known for melodic, clean guitar, often employing the juxtaposition of electric and acoustic. While the compositions feature the repetition of typical rock motifs, the subtle changes in beat and rhythm form a unique rhythmic dialect. The band has consistently expanded their sound throughout their musical tenure by incorporating singing, rhodes piano, mallet percussion, and electronic production elements.

The sophomore album from acclaimed US musician Vanderwolf and follow-up to 2022 debut '12 Little Killers' ("Soul, gospel, theatrical rock and more" Mojo), 'The Great Bewilderment' is a major rock record full of big emotions and adventurous songs. Whereas '12 Little Killers' was written and recorded during Vanderwolf's final years in London following the break-up of his semi-legendary band Last Man Standing, 'The Great Bewilderment' was mostly written during the pandemic, during which he relocated from New York to Los Angeles. For the recording, Vanderwolf reached out to an old friend, drummer Angie Scarpa, while a recommendation from John Cale's guitarist, Dusty Meadows, led to bassist H Chris Roy joining the band. Tim Sonnefeld contributes a variety of guitars, including beautiful crying feedback throughout album centrepiece "Gaza", which also features a guitar solo from Portishead's Adrian Utley. The album title itself is drawn from the mood of writing music during the pandemic. "I think we're still in that great bewilderment," insists Vanderwolf. "With threats to democracy, the division of opinion, plus this latest war on top of the war in Ukraine, and the climate crisis becoming acute, there's a looming sense that there's nothing we can do. 14 years of Tory corruption in an alleged democracy...that is bewildering. That a twice impeached President with 91 indictments against him can be the frontrunner in a presidential election...that is bewildering." As a music programmer and concert producer, Max Vanderwolf has worked for some of the worlds' most celebrated clubs and concert venues. These include New York's legendary Knitting Factory and London's internationally renowned Royal Festival Hall, where for 9 years he produced the Meltdown Festival working closely with artists including David Bowie, Patti Smith, Jarvis Cocker, Massive Attack and Ornette Coleman.

Remixes JID020 is the twentieth installment in the Jazz Is Dead catalog. This remix album features London based artists Shabaka Hutchings and Theon Cross, New York tastemaker Melanie Charles, LA based producer Bei Ru, Brazil's Dj Nyack, Detroit based producer Tall Black Guy, Bay Area producer Mophono and the LA based house duo LO & Disko. Remixers sampled the previously released Jazz Is Dead records created by Adrian Younge, Ali Shaheed Muhammad and icons including the following: Lonnie Liston Smith, Jean Carne, Tony Allen, Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, and Katalyst.

New signing of the French label Happiness Therapy, rising Parisian producer Strandtuch unveils his debut vinyl EP "Want 2 Feel"

Drawing from an eclectic array of influences, the Parisian producer has meticulously crafted his signature style, which he aptly describes as Power House. Seamlessly fusing elements of House, Acid, Ghetto House, and Trance, his music transcends conventional genres.

His world is wide and rich, just as his live : full of energy and surprises.

"Want 2 Feel" is set to be released on March 22nd. This groundbreaking collection of tracks showcases the producer's unparalleled talent for blending nostalgic 90s sounds with innovative modern treatments. With an emphasis on dynamic tonalities, infectious melodies, and sophisticated rhythms, his new release on Happiness Therapy promises to be a must-have addition to any electronic music aficionado's collection.

Next on deck, straight from Producer Dan Ubick’s Lions Den Studio, comes two more re-imagined soul classics from Los Angeles’ own Night Owls. First up, we have soul phenom Eli “Paperboy” Reed taking on Ray Charles’ classic “You Don’t Know Me” and Rocksteady champions Jr. Thomas & The Volcanos, laying their beautiful soul harmonies to Eddie Kendricks’ timeless “If You Let Me.”

For Side A’s “You Don’t Know Me,” Ubick had a tough assignment - find someone who could bring his own innate soulfulness to a song sung by “The Genius” in his prime. The answer came from Massachusetts-bred Eli “Paperboy” Reed, who moved to Clarksdale, Mississippi at 18 to cut his teeth singing in juke joints all over the Delta. Then, moving on to spend a year as minister of music at Chicago’s Southside church of Soul legend Mitty Collier (Chess Records) and relocating back to the East Coast to record for Capitol Records, Warner Brothers, Colemine Records, and now Yep Roc, Dan had found his man. On “You Don’t Know Me,” Reed’s voice ranges from belted lows to soulful highs that perfectly sets the stage for this more upbeat and Roots Reggae-infused rendition. With a tip of the hat to Jamaican legend and producer Bunny “Striker” Lee, Night Owls take Charles’ classic soul and R&B standard to new territory. But that’s not all; Ubick also brought in Staten Island’s crown jewel, Eamon Doyle, who meticulously laid in all the vocal harmonies, faithful to Ray’s original. On Side B is Eddie Kendricks’ “If You Let Me” feat. Jr Thomas & The Volcanos (Colemine Records), re-done here with a nod to another legendary Jamaican singer, songwriter, and music producer, The Techniques’ own Winston Riley (Johnny Osbourne, Dave & Ansel Collins, Hortense Ellis, etc.). Originally debuted on Eddie Kendricks’ post-Temptations 1972 masterpiece People…Hold On (Tamla/Motown), Night Owls create a decidedly more moody and dubbed-out tone here, laying into a bass-heavy one-drop feel that perfectly sets the stage for Jr Thomas’ soulful lead and Volcanos members Alex Desért (Hepcat, The Lions) & John Butcher’s (The Expanders) spot on backing harmonies. While keeping much of the original harmonic language, Night Owls bring this much-loved classic to new heights, primed for the dance floor. It’s hard not to sway your hip and groove to this one!

Opening 4 intense stories EP in side A1 is Giuseppe Angeloro, a talented young Italian producer with one of his tracks that has already ignited several European dancefloors. He will share this side with one of the co-founders of the Offenbach-based HWSD collective Cedrik Dekowski and his strong jamming Roayal, spinning the record will be done by label cofounder Luca Piermattei with Italian voices inside the track, in company with a techno groove and melodic track by the other talented HWSD producer now based in South Korea, Thilo dietrich. These are four different tracks but with a minimum common determiner , that of having a killer instinct for your dancefloor!

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

Andi Otto’s Bangalore Whispers gets finally repressed. The psychedelic track which he recorded together with the Indian singer MD Pallavi in 2016 has become a hit in the downtempo scene around the globe (“Saaaa - resa nisa”). Pingipung press a new edition of the much sought after single on the occasion of their 20th label anniversary. In this 2022 edition the original track is paired with the Peter Power remix which has not seen the light of day on vinyl before.The Brazil-based producer slows the track down a notch and adds even more space. A perfect tune both for the dancefloor or meditation.

Das Live-Album der Jazz-Größen Geri Allen und Kurt Rosenwinkel wurde 2012 in der "Philharmonie de Paris" aufgenommen. Die beiden spielen wie aus einem Guss. Geri Allen sprach oft von ihrem Wunsch, ein Studioalbum mit dem in Berlin lebenden Kurt Rosenwinkel aufzunehmen "to document the flow and spirit while playing with Kurt", so ihre Worte seinerzeit. Leider haben wir sie verloren, bevor dieser Termin zustande kam, aber glücklicherweise wurde das Konzert aufgezeichnet. Und die Akustik im Saal ist großartig, was man der Aufnahme natürlich anhört.

Produziert von Kurt Rosenwinkel und Jana Herzen. Gewidmet dem Andenken an Geri Allen, die 2017 verstarb. Dieses Album ist, was der Titel vorgibt: truly a lovesome thing...

Zwischen bezaubernder Zärtlichkeit und Brutalität, zwischen den Feuern der Unterwelt und den kältesten Dämpfen des Nordens, das ist das Wesen, das WINTERHORDE genannt wird. Gegründet im Jahr 2002 in Nordisrael, hat sich die Progressive Extreme Metal Gruppe weiterentwickelt und versucht, mit jedem Akkord, den sie spielen und aufnehmen, etwas Größeres zu werden. Nur der Himmel ist die Grenze. Ob durch die uralten Künste des geschwärzten Metal bis hin zu den Juwelen der Progression, WINTERHORDE sind auf dem Weg, das nächste Ding der artikulierten Extremität zu sein.

WINTERHORDE hatten das große Vergnügen und das Privileg, mit einigen der größten Bands des Metal wie JUDAS PRIEST, BEHEMOTH, ACCEPT, W. A. S. P, DIMMU BORGIR, KEEP OF KALESSIN, AMORPHIS, SATYRICON und vielen mehr auf den Bühnen verschiedener europäischer Festivals wie "Metal Days", "Rockstadt Extreme Fest", "OST Mountain Fest", "Metalhead Meeting", "Maximum Rock" und "Metal yard" aufzutreten.

WINTERHORDE bahnten ihren Weg in den progressiven Manierismus des Extreme Metal und veröffentlichten ihr Debüt "Nebula" (2006, Burning Star Records), dem eine komplette Europatour mit den finnischen Black Metalern CATAMENIA folgte. Das zweite Album "Underwatermoon" (2010, Twilight Vertrieb) wurde von V. Santura (DARK FORTRESS, OBSCURA, PARADOX, TRYPTIKON) aufgenommen und produziert. Anfang 2016 vollendete WINTERHORDE eines ihrer abenteuerlichen und höchst geheimnisvollen Epos, "Maestro" (Vicisolum Productions) wurde erneut von V. Santura produziert und von Jens Bogren gemastert. Kritiker und Fans begrüßten das dritte Studioalbum "Maestro", das im Mai 2016 veröffentlicht wurde.

Sechs Jahre später, und WINTERHORDE sind wieder bereit für die nächste Herausforderung. Voller Energie und einer neuen, überwältigenden Besetzung haben WINTERHORDE die Arbeit an ihrem neuen, vierten Studioalbum "Neptunian" geschafft.
Im Juni 2022 wurde die Single "The Greatest Plague of Earth" veröffentlicht.

Metal Temple zine:
"This is an expression of extreme passion, through a whirlwind, and a strong character. Winterhorde is back different, but preserving their miraculous nature"

Winterhorde's bassist and founder, Alexander Latman, comments on "The Spirit Of Freedom"
"This song deals with the unbreakable spirit of simple people, who are ready to die for keeping their land free. We wanted to show this spirit, not only in the warrior himself but also in his family members who are filled with pride of their fallen loved one. The simple people are those who sacrifice their lives for unnecessary wars waged by rich people's games. They die, but never give up their freedom and identity. The conflict of life versus freedom at any cost".

Sales Info:
- PR-Kampagne über die deutsche Agentur ALL NOIR für Print / Presse / Radio in der EU + O'Donnell Medien für PR in den USA
- frühere Musikvideos haben jeweils 5-stellige Ansichten auf YT erreicht
- neues Album gemischt und gemastert von Jaime Gomez Arellano (Ghost, Paradise Lost, Insomnium, Moonspell)
- Feat. Künstler auf Album: Kobi Farhi von Orphaned Land und Davidavi Dolev von Subterranean Masquerade