Search:ga

Philip Glass, the great American composer, was already in his mid-30s before his first album appeared, and then only because he produced the double LP himself. Music With Changing Parts was the inaugural release on his own Chatham Square imprint in 1971.

At this point, Einstein on the Beach, Glass' first opera, was still five years away. Yet in Changing Parts, one can already hear much of his vocabulary in full bloom: the buoyant arpeggios, the melding of electronic and acoustic instruments, the elongated drones of human voice, the primary emphasis on pulse (an interest he shared with fellow composer Steve Reich) and the ecstatic potential inherent in repetition.

The album features the original Philip Glass Ensemble – the composer himself, along with Jon Gibson, Dickie Landry, Art Murphy, Steve Chambers and Robert Prado – playing Farfisa organs and woodwinds as well as Barbara Benary on electric violin.

As Glass describes in his memoir Words Without Music, he secured a $500 interest-free loan for the recordings' initial release from the Hebrew Free Loan Society – an organization intended to help immigrants from the Old World upon arrival in the US. Though Glass was merely the grandson of immigrants, the venture wasn't far off the society's charter as Changing Parts helped usher in a new world of sound that would become known as Minimalism.

Chatham Square went on to release albums by other composers in Glass' circle, including Gibson and Landry. The label was named after the Manhattan intersection where Landry had a studio and the ensemble rehearsed.

Born in Baltimore in 1937, Glass first moved to New York to attend Juilliard at just nineteen, having already graduated from the University of Chicago. A staple of the Downtown scene, he can perhaps be appreciated as akin to the likes of sculptor Richard Serra or filmmaker Jim Jarmusch: mavericks who became major cultural figures entirely on their own terms.

This first-time vinyl reissue reproduces the original side-breaks and gatefold sleeve.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

Caçador de Horizontes is the fourth and most ambitious album by Brazilian composer and songwriter Raphael Gimenes. Conceived as an expansive double album, it brings together voice and acoustic guitar with richly arranged strings, brass and a wide palette of percussion, engaging with the tradition of Brazilian songwriting while evoking the harmonic sensibility of artists such as Milton Nascimento, alongside elements of modern classical music.

Inspired by travels across the American continent, the album moves between intimate moments and large-scale instrumental passages, creating a cinematic and emotionally resonant atmosphere. Produced by Lucas Delacroix, Alexandre Andrés and Gimenes himself, it features more than 30 musicians from different countries and was supported by the Danish Arts Foundation (Statens Kunstfond).

With the release of De Todas las Flores, Natalia Lafourcade returned with an album of entirely original material for the first time in seven years.

Musically, De Todas las Flores, dives into a wide variety of Latin jazz and folk genres, such as bolero, cumbia, bossa nova, and samba. Lafourcade describes the album as her musical diary, exploring themes of heartbreak, loss, and grief. She drew inspiration from nature, particularly her home garden in Xalapa, Veracruz.

Lafourcade enlisted the help of her former neighbour, Adán Jodorowsky, for production. The musical touch came from musicians such as the guitarist Marc Ribot (Tom Waits, John Zorn) and the bassist Sebastian Steinberg (Soul Coughing, Eddie Vedder, Fiona Apple).

De Todas las Flores is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert and printed inner sleeves.

Christopher Tignors ,Bleeding Past the Edges" ist ein bewusster Kontrapunkt zur heutigen, von KI geprägten Musiklandschaft und stellt die menschliche Hand fest in den Mittelpunkt des Schaffensprozesses. In einem kleinen Studio voller Geigen, Stimmgabeln, Pedalen und maßgeschneiderter Software hat Tignor ein Performance-System entwickelt, das sich weniger wie eine Maschine, sondern eher wie ein lebendiges Instrument verhält. Anstatt sich auf Loops oder Backing-Tracks zu verlassen, generiert er jedes Stück in Echtzeit und fängt Klänge ein und formt sie um, während er spielt. Geigenstreichmelodien erweitern sich zu vielschichtigen Mustern, perkussive Schläge lösen sich entwickelnde Strukturen aus, und selbst eine einzelne Stimmgabel kann sich zu einem ganzen harmonischen Feld entfalten. Das Ergebnis ist ein immersiver, orchestraler Klang, der live von einem einzigen Interpreten erzeugt wird, der sich durch ein eng verwobenes System aus Gestik, Timing und Code bewegt. Jedes Element beginnt als physische Handlung und bleibt damit verbunden, was der Musik ein Gefühl von Unmittelbarkeit, Risiko und Präsenz verleiht, das sich durch das gesamte Album zieht. Auf dem Album bewegt sich Tignor fließend zwischen rhythmisch geprägten Kompositionen, die das Instrument als perkussiven Motor behandeln, und melodischeren Werken, die im expressiven Kern der Violine verwurzelt sind. Die Lead-Single ,Weight of Words" unterstreicht diese Balance und entfaltet sich mit einer narrativen Klarheit, die Tignors Kompositionsansatz widerspiegelt. Er beschreibt diese Stücke oft als ,Kurzgeschichten", in denen Melodien als roter Faden dienen und jedes Werk durch wechselnde Strukturen und emotionale Bögen führen. Der Titel ,Bleeding Past the Edges" verweist auf Momente, in denen die Musik über ihr ursprüngliches Konzept hinausgeht, in denen sich die Struktur lockert und der Klang nach außen fließt. Tignor vergleicht den Prozess mit ,einem Seiltänzer", bei dem sorgfältige Vorbereitung auf die Möglichkeit einer Transformation in Echtzeit trifft. Obwohl die Systeme streng ausgearbeitet sind, behält jede Aufführung ein Element der Unvorhersehbarkeit, wodurch sich die Musik ständig weiterentwickeln kann. Im Laufe von zehn LPs, die über Western Vinyl und New Albion erschienen sind, hat sich Tignor in klassischen und experimentellen Kreisen breite Anerkennung erworben. The Guardian bezeichnete ihn als ,absurd talentiert", während Bandcamp seine ,schiere technische Meisterschaft" hervorhob und The New York Times seine seltene Fähigkeit lobte, Computer bei Live-Auftritten nahtlos mit akustischen Instrumenten zu verbinden. The Wire lobte seine Kompositionen zudem für ihre fließenden, sich entwickelnden Strukturen. Über seine Soloarbeit hinaus hat Tignor mit Künstlern wie Rachel Grimes, Helios, Jefre Cantu-Ledesma, John Congleton und This Will Destroy You zusammengearbeitet. Sein Hintergrund verbindet verschiedene Disziplinen: Er hat einen Doktortitel in Komposition von der Princeton University, einen Master in Informatik vom NYU Courant Institute und einen Bachelor vom Bard College, wo er bei dem Dichter John Ashbery studierte. Mit ,Bleeding Past the Edges" führt Tignor diese Stränge zu einem Werk zusammen, das sich sowohl streng konstruiert als auch lebendig anfühlt - ein Album, das Performance, Körperlichkeit und die anhaltende Ausdruckskraft menschengemachter Klänge in den Vordergrund stellt.

,now i imagine a place not the same" ist eine Doppel-LP und ein neues Solo-Statement des Gitarristen und Komponisten David Torn, veröffentlicht bei Kou Records. Es kehrt zur rohen Energie seiner frühen Klangsprache zurück und treibt diese gleichzeitig mit der Klarheit jahrzehntelanger Erkundungen voran. Das Album ist gleichermaßen viszeral und schwerelos und konzentriert sich auf Torns langjährigen Dialog zwischen alternativen Stimmungen, Loop-Architekturen und berührungsempfindlicher Elektronik - eine Klangwelt, in der Melodie, Noise und Atmosphäre sich ständig ineinander verschmelzen. Als Pionier der E-Gitarren-Bearbeitung ist Torn weithin bekannt für seine Arbeit in Musik und Film, darunter langjährige Kooperationen mit dem Komponisten Howard Shore, Beiträge zu Filmen von David Cronenberg und einflussreiche Veröffentlichungen bei ECM Records, die dazu beitrugen, eine atmosphärische, filmische Sprache für die E-Gitarre zu definieren. Torn nähert sich jedem Stück als einer Form kompositionsorientierter Improvisation und behandelt alles in seiner Reichweite als musikalisches Material: Saiten, Tonabnehmer, Verstärker, externe Elektronik, Stimme, resonante Oberflächen und den physischen Raum selbst. Aufgenommen, gemischt und produziert von Randall Dunn und mit einem Schwerpunkt auf Unmittelbarkeit und physischer Präsenz eingefangen, wird die Gitarre Teil eines größeren Systems - Schaltkreise atmen, Delays wiederholen unvollkommene Erinnerungen, Töne regenerieren sich durch Berührung. Klänge entstehen durch Zufall, Geste und Intuition und werden dann durch aufmerksames Zuhören geformt, während sie sich entwickeln. Anstatt auf festgelegte Ergebnisse hin zu komponieren, lässt Torn die Form durch Feedback und Wiederholung entstehen und nimmt jeden Klang - ob beabsichtigt oder nicht - in einen sich ständig weiterentwickelnden musikalischen Körper auf. Indem er grundlegende Werkzeuge aus seinen prägenden Verarbeitungsjahren wieder aufgreift - alternative Stimmungen, Looping-Logik, Röhrensättigung - lehnt Torn Nostalgie ab und gewinnt stattdessen ihre Unmittelbarkeit als lebendiges Material zurück. Gleichzeitig intim und gewaltig fängt ,now i imagine a place not the same" einen Künstler ein, der seine einzigartige Sprache voll und ganz beherrscht: zutiefst melodisch, rigoros experimentell und verwurzelt in Vertrauen, Berührung und Elektrizität. Nicht als rückblickende Geste, sondern als gegenwärtige Erklärung bietet das Album eine kraftvolle Meditation über Vergänglichkeit, Erneuerung und das fortwährende Leben des Klangs.

Transparentes Vinyl. Am 29. Mai 2026 erscheint das erste Album von GÖRL: "Dark Silver Moon Light". Hinter GÖRL stehen mit DAF-Legende Robert Görl und die stilprägende DJ- und Produzentin Sylvie Marks zwei Pionier:innen der elektronischen Musik. Robert Görl gründete 1978 mit Gabi Delgado die legendäre Postpunk-Gruppe Deutsch Amerikanische Freundschaft (DAF). Mit radikal reduzierten, ikonischen Sequenzen, brutalistisch anmutenden Drums und provokativer Ästhetik gelangen DAF zeitlose Hits wie "Der Mussolini". Sylvie Marks wiederum war die erste und einzige weibliche Resident-DJ des legendären Frankfurter Clubs Dorian Gray. Später veröffentlichte sie als Produzentin internationale Club-Hits und trat auf Festivals wie Roskilde auf. Seit sechs Jahren verbindet Robert Görl und Sylvie Marks eine funkensprühende Kreativpartnerschaft, die in der Veröffentlichung ihres ersten gemeinsamen Albums als GÖRL gipfelt, "Dark Silver Moon Light". Das Album denkt die ästhetische Tradition von DAF mit und transzendiert sie zugleich in Gegenwart und Zukunft.

Umfang: Drei schwarze Vinyl-LPs im hochwertigen Gatefold-Klappcover mit zwei 8-seitigen Booklets und bedruckten Innenhüllen.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

King Buffalo"s debut album, originally released in 2016 and now back on black 180gr. vinyl in a gatefold cover (includes Download code).






[f] 6Goliath [Part 1]
[g] 7Goliath [Part 2]

Back in 2023, Bruce was approached by a band of young and ambitious lads, who wanted him to mix their debut album 'Nacre'. Being fans of his music, they hoped to utilise his renowned, club-informed and emotive sound design to add a shade of hypnotism and psychedelia to their singular strand of post-rock. The band of course were Quade, and the union proved to make perfect sense: Bruce excelled in gracefully fulfilling the band's vision, sealing their relationship for projects to come.

A couple years on, both Quade and Bruce had really proved the scope of their abilities: the sophomore album 'The Foel Tower' won the hearts of fans and critics across the board, who celebrated its "gorgeous" and "tender" sound to great acclaim. The world they had built clearly stood defined and dignified, though at the same time, Bruce couldn't help but wonder if there was more to be said. Besides, the sheer abundance of emotion and rich textures therein, suggested a great deal of potential for further exploring. So with the band’s blessing, he embarked on versioning the album.

Bruce was off the leash: total freedom leant him the ability to dub in wild style, weaving and wrestling with drum, bass et al, connecting to the arrangements' true feelings and expanding them to full frame. The "doomer sad boy, ambient-dub, folk, experimental post-rock" of the original, was blown into a whole new, hypnotic realm: through rattling analogue distortion and huge spaced out effects, Bruce's efforts stand as an exploding supernova of dub and noise, refracted through the band's themes of grief, beauty and the great British countryside.

To be released on his label Poorly Knit, this remix album once again proves Bruce's deft of touch and skill in reworking material. Maximising the sonic potential of such a promising and talented band he marks his personal contribution towards what will surely continue to be a fulfilling and illustrious musical journey for Quade.

Available digitally and on super limited cassette (50 copies)

Iqnovara is a band to watch: their debut album, Onderstroom (2024), was immediately picked up and praised by Belgian public radio broadcast Klara. On May 29th, their follow-up album, O Innocent Heart, will be released by W.E.R.F. records. This album explores the boundaries between jazz and North Indian classical music. For three years, they refined this music in close collaboration with Pakistani sarod maestro Asad Qizilbash. Bandleader, guitarist, and composer Haroun Iqbal deepened his understanding of the North Indian tradition during this period, including a study trip to New Delhi to learn from Shubhendra Rao, aprotégé of Ravi Shankar. O Innocent Heart connects both musical worlds in each piece in its own way, always seeking how each musician can shine.

Legendary California Gore Metal Freaks Exhumed team up against Richmond, Virginia's Crossover Hardcore Punks Iron Reagan (members of Municipal Waste) on this stellar edition of the Tankcrimes Split 12" Series. Exhumed bring 2 hook-laden, high speed death grinding originals plus Gore soaked covers of Hardcore classics from Minor Threat and Negative Approach. Iron Reagan come in with 4 original tracks of manic punk-metal thrash fury. All tracks exclusive to this vinyl only release. Digital download card included.

A legendary chapter of hard rock history comes to a thunderous conclusion with The Final Ride, the ultimate live release from Lynch Mob, capturing the band’s final run on stage with uncompromising power, precision and attitude. Available on CD/DVD, Blu-ray and LP, The Final Ride delivers a fully immersive live experience, meticulously recorded, mixed and mastered by Chuck Alkazian at Pearl Sound Studios, ensuring outstanding sonic clarity while preserving the raw intensity and immediacy of a true Lynch Mob performance. The setlist is a powerful career-spanning journey, combining cornerstone Lynch Mob classics with three iconic Dokken-era songs that remain inseparable from George Lynch’s legacy. Explosive performances of “Lightning Strikes Again,” “It’s Not Love,” and “Paris Is Burning” ignite the crowd and serve as a direct bridge between past and present, while Lynch Mob anthems such as “River of Love,” “No Good,” “Hell Child,” “Let the Music Be Your Master,” “Street Fighting Man,” and the timeless closer “Wicked Sensation” showcase the band at full force. At the heart of The Final Ride stands George Lynch, whose unmistakable guitar tone, phrasing and musical authority continue to define generations of hard rock and metal guitarists. He is backed by a formidable lineup featuring Gabriel Colon (vocals), Jaron Gulino (bass) and Jimmy D’Anda (drums), delivering a tight, aggressive and emotionally charged performance worthy of the band’s legacy. The Final Ride is more than a live album—it is a farewell, a celebration and a definitive statement. Captured with premium production values and released across multiple physical formats, it stands as an essential document for fans, collectors and anyone who has followed the enduring impact of George Lynch and Lynch Mob on hard rock history. The final curtain falls—but the fire still burns.

ounded in 1992 by the larger than life, Scottish punk-rock poet laureate, Mr Paul McKenzie, this merry band of miscreants has spent more than three decades circumnavigating the globe to bring the McKenzies gospel to an ever-expanding throng of rebels, scallywags and ne'er do wells. There's not many bands that can boast of a 30+ year career as staggeringly adventurous, wildly tempestuous and utterly death-defying as The Real McKenzies. It would be a serious mistake to write them off as just another Celtic punk band (they’ve been around longer than the Dropkick Murphys after all). They are an unstoppable juggernaut of touring mayhem. A ferocious troupe of insanely talented minstrels, storytellers and entertainers melding traditional acoustic and electric instruments to create a sound like no other. Their list of accolades is long. From sharing the stage with the likes of NOFX, Rancid, Flogging Molly, Metallica and Shane McGowan to appearing in film, books and video games to early releases with the almighty Fat Wreck Chords, their legendary status only continues to grow. On Yer Bike is an absolute beast of an album. A newly revitalized and laser-focused Paul McKenzie has never sounded better and his longtime bandmates have never been tighter. Boasting thirteen epic tracks, including the Sawney Bean trilogy (a trio of songs about Scotland's most infamous cannibal highwayman), the songs rage across topics including but not limited to love, literacy, historical sagas, eating sardines with your mother and, of course, cannibalism. Soaring bagpipes, heart pounding percussion and ultra melodic shoutalong Celtic punk rock are the orders of the day and are delivered piping hot from one of the most respected and adored pioneers of the genre.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

New vinyl colorways of Demigod's Slumber Of Sullen Eyes out in May 2026 The crown jewel of Finnish Death Metal, Slumber of Sullen Eyes by Demigod, reissued in a band-approved edition. Features a vinyl master from the original source by Noise for Fiction, comes in a gatefold sleeve with a booklet featuring a lengthy feature by Hippo Taatila and some visual memorabilia. Available on Svart exclusive Pink/Green/Black Marble edition, Transparent Red edition and Classic Black edition. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

New vinyl colorways of Demigod's Slumber Of Sullen Eyes out in May 2026 The crown jewel of Finnish Death Metal, Slumber of Sullen Eyes by Demigod, reissued in a band-approved edition. Features a vinyl master from the original source by Noise for Fiction, comes in a gatefold sleeve with a booklet featuring a lengthy feature by Hippo Taatila and some visual memorabilia. Available on Svart exclusive Pink/Green/Black Marble edition, Transparent Red edition and Classic Black edition. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

„Sayin’ What I’m Thinkin’“ erschien im Februar 2021 und wurde von vielen als eines der besten Alben des
Jahres gefeiert. Ganz im Sinne des Titeltracks ist das gesamte Album von Authentizität, Ehrlichkeit und
Tiefsinn geprägt – Eigenschaften, die Laineys Charakter widerspiegeln. Das Album enthält ihre Nummer-
1-Radio-Single „Things A Man Oughta Know“, die vom Magazin „Taste of Country“ als „Song, den jeder
Country-Fan gehört haben muss“ bezeichnet wurde.

Das neue Projekt von Joe Lovano trägt den programmatischen Namen Paramount Quartet – und tatsächlich
versteht der Saxofonist diese Formation als künstlerischen Meilenstein. „Mit diesem Quartett sind wir an
einem einzigartigen Ort angekommen“, erklärt Lovano. „Es ist etwas ganz Besonderes, etwas Neues. Und
diese ‚cats‘, sie spielen mit einem globalen Bewusstsein.“ Zu diesen „cats“ zählen der Gitarrist Julian Lage,
der Bassist Asante Santi Debriano sowie der Schlagzeuger Will Calhoun, der auch durch seine Arbeit mit
der Rockband Living Colour bekannt wurde. Gemeinsam schlagen sie ein neues, abenteuerliches Kapitel
in Lovanos weit gespanntem Œuvre auf. Anlässlich der Tournee, die der Aufnahme vorausging, würdigte
die Financial Times das Konzert in London mit den Worten: „Lovanos jüngstes Projekt, das Paramount
Quartet, fügt einem modernistischen Kern Anklänge von Americana hinzu und erkundet dieses Terrain mit
Freiheit, Fokus und Feuer.“ Die klangliche Palette des Albums ist ebenso facettenreich wie die beteiligten
Musiker unterschiedlicher Generationen: kraftvoll und extrovertiert in manchen Momenten, intim und
zart in anderen. Neben Eigenkompositionen Lovanos finden sich eindrucksvolle Interpretationen von „Lady
Day“ – einer Hommage von Wayne Shorter an Billie Holiday – sowie von „First Song“ des Bassisten Charlie
Haden. Aufgenommen wurde das Album im Februar 2025 in Südfrankreich, produziert von Manfred Eicher.

Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Reissued! Transcendence through repetition beamed via an aesthetic vision steeped in mystery: welcome to the world of Newcastle-Upon-Tyne's Smote, an entity opening up uncanny new psychic pathways. `Genog' - the outfit's second release on Rocket Recordings following 2021's eerie transmission `Drommon' - shows that Smote's elliptical casting of bleak magick is only growing more powerful as it gathers momentum. The brainchild of Daniel Foggin, Smote has evolved seemingly of its own volition. "I had the idea for years" he relates, "I love Pärson Sound, Träd, Gräs Och Stenar, Traditional Irish Folk and all sorts of different Drone and Folk music. It was simply finding the opportunity to sit down and get recording. A very heavy influence that affects Smote is fantasy as a genre, and the atmosphere that can be created via story-telling." The musical approach of Smote may have started out as a resolutely DIY one, yet from the humble origins of bedroom and rehearsal room recordings, the band has now become a full-fledged and powerful live band, whose appearances at festivals like Roadburn, Le Guess Who and Brave Exhibitions have already caused a considerable stir.The five vivid extrapolations on Genog conjure differing spiritual realms, yet combine and coalesce to offer one unified vision, building furious momentum in a manner that unites the pastoral with the arcane and otherworldy. Earthy, ritualistic and richly cinematic in aspect, Genog is an avatar guiding the listener to dark and beguiling imaginary landscapes. 2026 bone colour vinyl repress

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

"The Moth" ist Devin Townsends bislang ambitioniertestes Werk, ein Projekt, das er als sein Lebenswerk betrachtet - ein immersives Orchester-, Chor- und Theaterprojekt, an dem er über ein Jahrzehnt lang gearbeitet hat. Was als fernes Ziel begann, wurde Wirklichkeit, als Townsend zur Zusammenarbeit mit dem North Netherlands Orchestra and Choir eingeladen wurde.

Im Gegensatz zu seinen früheren genreübergreifenden Werken wurde "The Moth" von Grund auf als vollständig orchestrierte Erzählung konzipiert. Townsend verbrachte Jahre damit, die Grundlagen der Musik neu zu erlernen, um die Partitur selbst zu schreiben: Harmonie, Kontrapunkt und Orchestrierung wurden von Grund auf neu aufgebaut, fachkundig unterstützt von Joseph Stevenson. Das Ergebnis ist ein sorgfältig ausgearbeitetes, emotionales Werk, in dem jedes Instrument und jede Stimme ihren Platz hat.

Das Album wurde in mehr als zehn Ländern aufgenommen und vereint eine außergewöhnliche internationale Besetzung: das bereits erwähnte North Netherlands Orchestra and Choir, die langjährigen Mitwirkenden Darby Todd, Mike Keneally, James Leach und Gäste wie Steve Vai, Anneke Van Giersbergen und Lynn Wu (Ou). Hunderte von Musikern, Toningenieuren, Mixern und Künstlern haben zu dem riesigen kreativen Ökosystem dieses Projekts beigetragen.

Im Kern handelt "The Moth" von Transformation. Durch seine hochfliegenden Arrangements und intimen Momente erkundet das Werk Selbstakzeptanz, Hingabe und den Mut, sich Unbehagen zu stellen, ohne sich abzuwenden.

"The Moth" handelt von der Reise - aber auch von der Ankunft.

"The Moth" wird in verschiedenen Formaten erhältlich sein, darunter als limitiertes Deluxe-Artbook mit 3 CDs + Blu-ray (CD1: Studioalbum, CD2: "The Moth - The Afterlife" Redux Orchestra & Choir Version), CD3: "The Moth - The War (Live)"). Die Blu-ray enthält den kompletten Live-Film "The Moth - The War" sowie Dolby Atmos- und hochauflösende Stereomischungen von "The Moth" und "The Moth - The Afterlife". Es wird

White/Orange Splatter Vinyl. To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

This double-album pushes the boundaries of E-Jazz, blending heavy electronic weight with sophisticated improvisation. Featuring a standout collaboration with Llibert Fortuny, the production treats the computer as a "fourth band member," resulting in a dense, groove-heavy record defined by intense crescendos. A top-tier pick for shops specializing in Nu-Jazz, Broken Beat, and
Electronic Fusion.

Techno is the game. Realm United is the team. Powerful, direct, uncompromising club vibes.
K S R "collective works".

"Montreal", Album Nummer 3 der Band Montreal aus 2009, in einer neuen Vinylauflage (blau/weiß Corona Effekt Edition).

Wunderbar ist das einzige Soloalbum von Wolfgang Riechmann (1947-1978) - ein stiller Meilenstein der deutschen Elektronik. Zwischen Berliner Schule und Düsseldorfer Szene verortet, verbindet das Album hypnotische Sequenzen mit warmen, melodischen Bögen und entzieht der elektronischen Musik ihre vermeintliche Kälte. Riechmann, der u. a. mit Mitgliedern von Neu! und Kraftwerk spielte und durch Streetmark bekannt wurde, entwickelte hier eine ganz eigene, sphärische Klangsprache. Aufgenommen ab November 1977, erschien Wunderbar tragischerweise erst nach seinem frühen Tod im August 1978. Bis heute gilt es als zeitloses Dokument einer sensibleren, emotionaleren Elektronik-Ästhetik.

Full colour sleeve with rare use of the Italian only movie artwork.

A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971
kinky British London / posh stately home horror that seemed more like an excuse to show as
many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel
Adair - the writer of legendary long-running TV series Crossroads, and her business partner at
the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful
enough to allow the whole team another go at the sexploitation game through their newly
formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic,
the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which
was also called La Masseuse Perverse. This film also came out in 1971 and they used the
musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast
member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928,
was educated through both grammar and art school and after National Service flirted with both
art and music. He worked with a series of very talented song writers - including Barry Cryer -
finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with
their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents
were spotted by producer George Martin and they followed this show success up with a series
of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said
Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find
it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to
squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They
wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in
constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark,
Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the
classic “Busy Boy” for the Standard Library company that got picked up as the theme for the
brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged
its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of
Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also
imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more
like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a
naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So
I was thrilled when it was almost the musical opposite of what I imagined. We have here a great,
easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really
charming, which gets slightly more lively when the naked pool party sequence kicks off, and
drifts effortlessly into more seductive midnight moods as and when required. And having now
seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you
try and avoid unless you like watching plump randy middle aged men with terrible hair pursue
women half their age.

TRACKLISTING: There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 30 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999).In 2018, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).In 2019, the band released a 2,000 unit limited edition of this new version in a triple 10" package. Due to the continuing demand after this version sold out, in 2020 the band issued a new limited edition version of 1,500 units neon green and white splatter double 12" gatefold package with 2 sided insert including the previously unreleased tracks at 45 RPM for the heaviest audio possible. Five years later, they are finally doing a repress of this 45RPM double 12” version on white with brown splatter vinyl in a limited edition run of 2000 units.

The band has intended to carry on the legacy of early High energy early Classic Thrash insanity. Their quickly sold out 'Rise of Death' self released demo recorded in band leader Adrian Tobar's garage and It was later reissued by Iron Fist and Redefining Darkness records . The band much acclaimed debut 'The Warriors Awakening ...Brings The Unholy Slaughter ' came out in 2021 gathering a great response worldwide. Swedish metal ragers ETERNAL EVIL now return with their third full- length album 'Forever Feared'. Following the release of the furious The Gates Beyond Mortality , ETERNAL EVIL wasted no time, immediately embarking on their quest for world domination. Carving their path through Sweden's vast music landscape, the band quickly claimed their spotlight--opening for In Flames at the legendary Dalhalla, sharing the stage with the mighty Cavalera Brothers two nights in a row, and delivering a full- throttle set at Sweden's largest rock gathering, the Sweden Rock Festival.

LEATHERWITCH is a new Heavy Metal band formed by vocalist and multiinstrumentalist Marta GabrielThe witch is dead, long live the witch! After disbanding CRYSTAL VIPER, Marta Gabriel - who also is a respected session musician, and toured and recorded with acts such as VADER, MANILLA ROAD or METALUCIFER - strikes back with her new band LEATHERWITCH presents new approach, new attitude, new quality and new energy. Debut single "Beast Inside", where fast headbanging rhythm, classic Speed Metal riffing, pounding rhythm section, shredding guitar solos and super catchy vocal lines, meet a classic gothic horror Werewolf tale, already reveal what to expect from the debut album, "First Spell

There are two versions of the record - classic black vinyl and transparent green limited edition (100 numbered copies) - both 180g with printed inner sleeve.

"PORTRETY" (Portraits) is a one-of-a-kind series – it focuses on artists known for their strong connection to the drums. Each person invited to the project is given freedom in their work. Ultimately, the track created for the album must be signed with the real names of our protagonists – that's our sole criterion.

This is how a kaleidoscope of sounds and eight original perspectives on music emerges.

LINER NOTES by Bartek Chaciński:"For part III of the compilation series focusing on Polish drummers, I’d like to start, as per usual, with a one liner…

There are three types of drummers: Those that can count, and those that… can’t.

Ok, but looking past the punchline, it turns out that there is, in fact, a third type: Drummers who can count, and pretty well too, but still struggle with triple rhythms. Amongst those who have ascended the heights of triple rhythm perfection you will certainly find, Piotr Gwader. One of the leaders of the movement, we could call an “Oberek Revival. He even proposed a new form: Footberk - splicing of Polish Folk dance and Chicago Footwork. He performed live with the OG of Footwork - RP Boo (Arpebu), but equally, he could successfully form a footberk duo with Jacek Prościnski, another protagonist from “Portraits 3”. Prościnski has been deeply immersed in the world of electronic dance music for years and offers us yet more proof of those interests here.

Triplets are also no stranger to Ola Rzepca (synonymous with the Drekoty Trio), in whose music there is no shortage of rhythmical complications and tempo changes. The same can be said of the improv-friendly contemporary jazz presented by Patrycja Wybrańczyk. These two Polish drummers show how versatile this discipline is on the Polish jazz scene. These qualities have already been well documented by Marcin „Groh” Grośkiewicz, but never so strongly as here.

Szymon „Pimpon” Gąsiorek is a musician who has made unconventionality the foundation of his individual style. Yet even in the piece by Jan Pieniążek (a dynamic and equally versatile drummer), we find an element of surprise in its melancholic atmosphere and construction, which introduces a triple rhythm while pushing the drum parts into the background. Portraits, on the other hand, does the complete opposite with its protagonists - it positions them in the foreground as the creators of specially commissioned original works. From this perspective, perhaps the most familiar names here may be Emade and Albert Karch, who are known as outstanding music producers and among the most interesting in Poland. “Portraits III” has presumably given them a momentary break from producing other artists, while for the music industry, it’s also a pleasant break in the rhythm and a shift of emphasis."

There are two versions of the record - classic black vinyl and transparent green limited edition (100 numbered copies) - both 180g with printed inner sleeve.

"PORTRETY" (Portraits) is a one-of-a-kind series – it focuses on artists known for their strong connection to the drums. Each person invited to the project is given freedom in their work. Ultimately, the track created for the album must be signed with the real names of our protagonists – that's our sole criterion.

This is how a kaleidoscope of sounds and eight original perspectives on music emerges.

LINER NOTES by Bartek Chaciński:"For part III of the compilation series focusing on Polish drummers, I’d like to start, as per usual, with a one liner…

There are three types of drummers: Those that can count, and those that… can’t.

Ok, but looking past the punchline, it turns out that there is, in fact, a third type: Drummers who can count, and pretty well too, but still struggle with triple rhythms. Amongst those who have ascended the heights of triple rhythm perfection you will certainly find, Piotr Gwader. One of the leaders of the movement, we could call an “Oberek Revival. He even proposed a new form: Footberk - splicing of Polish Folk dance and Chicago Footwork. He performed live with the OG of Footwork - RP Boo (Arpebu), but equally, he could successfully form a footberk duo with Jacek Prościnski, another protagonist from “Portraits 3”. Prościnski has been deeply immersed in the world of electronic dance music for years and offers us yet more proof of those interests here.

Triplets are also no stranger to Ola Rzepca (synonymous with the Drekoty Trio), in whose music there is no shortage of rhythmical complications and tempo changes. The same can be said of the improv-friendly contemporary jazz presented by Patrycja Wybrańczyk. These two Polish drummers show how versatile this discipline is on the Polish jazz scene. These qualities have already been well documented by Marcin „Groh” Grośkiewicz, but never so strongly as here.

Szymon „Pimpon” Gąsiorek is a musician who has made unconventionality the foundation of his individual style. Yet even in the piece by Jan Pieniążek (a dynamic and equally versatile drummer), we find an element of surprise in its melancholic atmosphere and construction, which introduces a triple rhythm while pushing the drum parts into the background. Portraits, on the other hand, does the complete opposite with its protagonists - it positions them in the foreground as the creators of specially commissioned original works. From this perspective, perhaps the most familiar names here may be Emade and Albert Karch, who are known as outstanding music producers and among the most interesting in Poland. “Portraits III” has presumably given them a momentary break from producing other artists, while for the music industry, it’s also a pleasant break in the rhythm and a shift of emphasis."