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Shen is a quartet from Tel Aviv, constantly switching between genres while searching for truth and patience in the process.
After dealing with urban experiences on their first album back in 2018, Shen has matured and started to explore the power of nature and the dimension of time with their latest offering, recorded at Kibbutz HaOgen, which is located on a kibbutz near Kfar Yona, far from the big cities of Jerusalem and Tel Aviv.

Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with 'Opening Night', a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, 'This Time Around', Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.

The album was written in Los Angeles and recorded at Gary's Electric in Brooklyn, NY over 2017/2018.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere der Band.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere, in der Hot Chip immer wieder für Innovationen gesorgt und eine vielseitige, klangstarke Songstruktur entwickelt haben. Und während sie unverändert in Topform unterwegs sind, fühlt sich Freakout/Release wie ein ganz neues Kapitel für die Band an - ein kühnes und selbstbewusstes Album mit Texten voll dunkler Emotionen und dennoch so erbauend, wie es nur eine Hot Chip-Platte sein kann.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere der Band.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere, in der Hot Chip immer wieder für Innovationen gesorgt und eine vielseitige, klangstarke Songstruktur entwickelt haben. Und während sie unverändert in Topform unterwegs sind, fühlt sich Freakout/Release wie ein ganz neues Kapitel für die Band an - ein kühnes und selbstbewusstes Album mit Texten voll dunkler Emotionen und dennoch so erbauend, wie es nur eine Hot Chip-Platte sein kann.

Madonna is the first and only recording artist to have 50 #1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna curated a new 50-track collection titled FINALLY ENOUGH LOVE: 50 NUMBER ONES which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades as well as an abridged 16-track version, titled FINALLY ENOUGH LOVE. This 140-gram 2LP gatefold jacket includes single covers and a track-by-track on all featured 16 number one singles.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix was newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Chicago-meets-Philly when Vic Spencer and Small Professor connect on Mudslide, the incredible new album from this pairing of raw talents. Coalmine Records is proud to share this project with the world, and it marks Small Pro’s third collaborative release on the label after he previously linked with Guilty Simpson and the late Sean Price.

For the producer, it was an exciting new opportunity to team up with an emcee who’s gruff-voiced, hilarious, and can out-rap anyone on the planet. “Plus, my past Coalmine projects have their own neo/prog-boom-bap vibe, and ‘Mudslide’ continues that particular sonic blueprint,” Small Pro said.

And for fans of that sound, you’re not going to find a better example of that sound than this album. It’s just as experimental as it is steeped in the traditions of rap thanks to Vic’s boundary-pushing rhymes and Small Pro’s immensely satisfying instrumentals.

Tracks like “Lil Jon’s Weed Stash,” “Ew McNasty’s Revenge,” and “Selfcare Welfare” marry psychedelic vibes with grounded and clever lyricism. Another immediate standout is the lead focus track “Pitfall Music,” which features a mean-mugging guest verse from Flee Lord with cuts supplied by acclaimed turntablist, DJ Revolution.

Mudslide will be available digitally, as well as on CD, cassette and vinyl in three configurations; classic black, brown w/ white color-in-color, and a limited Ghostly Brown vinyl edition.

The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision—and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are “sound producing kinetic sculptures” designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari.

The Gamelatron Bidadari is not just a name—it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it’s a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17’s evolution, not only as a musician but as an artist.

Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it’s an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan’s long-standing history.

Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing.

He says, “I want to evoke what the music tells me it has to offer. It is like following water to its conclusion (or non-conclusion).” The arrangements on this album, written by Zemi17 and performed by the robotic arms of the Gamelatron, leaves the listener feeling enchanted, nourished and enriched.

A sense of the mystical comes through in the tonal quality of the instrument, and is conceptually felt in the sculpture’s name: the Bidadari, which loosely translates to “forest nymph.” The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent yet connected entities, each with a large gong situated at their structural base—the sonic “roots” of the sculpture—while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear. A kind of divinity is invoked through its sound, or a sacred cohesion between past and present, tradition and new form. Meant to be viscerally experienced, the sounds of the Gamelatron call for sublime togetherness. Gamelatron Bidadari is not just an album but the crystallization of Kuffner’s work; it is a condensed yet spacious glimpse into the sonic power of Zemi17’s Gamelatrons, which have already been heard and experienced live by over a million people.

Mice Parade returns from a decade of silence to release lapapọ, an album that spans the many styles of their storied career,and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year. Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion. lapapọ is a Yoruba word meaning something akin to "totally" or "altogether."

Als Oasis 1997 ihr drittes Album "Be Here Now" veröffentlichten, waren sie nicht weniger als die größte
Rockband der Welt. Bereits im Vorjahr hatten sie einzelne Songs live gespielt und auf verschiedenen Singles
veröffentlicht. Dennoch waren seit den Beatles die Erwartungen an ein neues Album nicht mehr so hoch
gewesen. Die Reaktionen waren seinerzeit gespalten, aus heutiger Sicht muss man sagen: Das war
Jammern auf hohem Niveau. Vielleicht war aber auch die Zeit einfach noch nicht reif für das, was vor allem
Noel Gallagher über Monate austüftelte, ausprobierte, wieder verwarf und neu erfand. Jetzt ist das OasisMastermind in seine Archive gegangen und hat das "verflixte" dritte Album noch einmal runderneuert. Neben
dem knackigen, entschlackten Remaster auf CD und Doppel-LP hat er aber für die Deluxe-Fassung sage und
schreibe 28 zusätzliche Tracks ausgegraben: bis heute nie veröffentlichte Songs, Single-B-Seiten, LiveAufnahmen und Demos, darunter die legendären ersten Skizzen von 14 Songs, die 1996 auf der Karibikinsel
Mustique entstanden.

Im Dezember 2021 veröffentlichte Alicia Keys ihr neues Album »Keys«, zunächst digital. 2022 dürfen wir uns nun über das physische Release des Longplayers auf Doppel-Vinyl freuen.

»Keys« ist bereits das achte Studioalbum der amerikanischen Sängerin, Songwriterin und R’n’B-Ikone, der Nachfolger von »Alicia« aus dem Jahr 2020.

Das Doppelalbum umfasst 26 Tracks und besteht aus zwei Teilen, einem Piano-Album mit dem Titel »Original« und einem Bonusalbum namens »Unlocked«, das sich zwischen Hip-Hop, R’n’B und EDM bewegt. Zehn der Titel findet man auf beiden CDs und demnach in unterschiedlichen Versionen, neben sechs weiteren Songs.

»Die Originals kommen von der klassischen Seite von mir! Es ist die AK, die wir wollen! Eine Heimkehr. Auf der Unlocked-Seite wollte ich die Originale sampeln, um ein ganz anderes Klangerlebnis zu schaffen«, so die Sängerin. Das ihr das gelungen ist, machte sie bereits mit den Singles »Lala (Unlocked)« und »Best Of Me« klar.

Auf ihrem neuen Album »Keys« war Alicia Keys als Produzentin und Songwriterin an allen Songs beteiligt. Unterstützt wurde sie allerdings von Kollegen wie Mike Will Made It, Sia, Raphael Saadiq oder Natalie Hemby. Außerdem lud sich die Sängerin ein paar Duettpartner ein. Auf beiden Albumteilen warten Gäste wie die Sänger und Rapper Khalid, Lil Wayne, Pusha T, Swae Lee, die Country-Sängerin Brandi Carlile und der britische Sänger und Komponist Jacob Collier.

Alicia Keys gehört zweifelsohne zu den größten R’n’B-Sängerinnen der Welt. 2001 veröffentlichte sie ihr Debütalbum »Songs In A Mirror«, das es auf Platz eins der US-Charts schaffte. Von sechs weiteren Alben erreichten drei ebenfalls Platz eins in den USA. Im Laufe ihrer Karriere verkaufte die Sängerin und Songwriterin weltweit mehr als 30 Millionen Tonträger. Zudem gewann sie zahlreiche Preise, darunter bislang 15 Grammys.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, ​“There Is A Place” ​on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman.


Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz

funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding post-production embellishments and retaining the purity of the performance lost in modern recording techniques.

This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Recorded direct-to-disc @ Artone Studio, Haarlem, The Netherlands on Tuesday 29th Wednesday 30th October 2019

Anders als auf „Bad Gastein“ finden sich in den neuen
Stücken weniger elektronische Klänge, dafür mehr handgemachter Sound. Dabei bleibt Friedrich Liechtenstein jedoch
nicht stehen, sondern spielt auch mit neuen Elementen. Es
ist ein Doppelalbum mit 10 Songs und 10 gesprochenen
Texten, das von Manfred Krugs 1974er Werk „Jazz-LyrikProsa“ inspiriert ist. Mit „Das war nur ein Moment“ interpretiert Liechtenstein auch einen Song von Manfred Krug,
einem seiner musikalischen Vorbilder. „Good Gastein“ ist in
der Corona-Pandemie entstanden und somit auch von ihr
inspiriert. Die beiden ersten geplanten Singleauskopplungen, das Eurythmics-Cover „I Saved the World Today“ und
die Ode an die Heimatstadt „Ach Berlin“ nehmen Bezug auf
diese außergewöhnliche Zeit.

Johnny Clarke ruled the Dancehall in the mid 1970’s, using the cleaver 'Flyers Rhythms' that gave some of his tunes an edge with the Sound Systems. But his voice was always.
bigger than this and his versatility to sing a wide range of vocal styles, has seen him cut through the decades as one of Reggae’s best voices.

Johnny Clarke (b.1955.Jamaica) cut his musical teeth at the age of seventeen, recording his first song ‘God made the sea and sun’ for Producer Clancy Eccles. A low-key release but one that led to Johnny catching Producer Rupie Edwards eye, when he appeared at a talent contest at Bull Bay. Impressed by his voice both live and on disc, Rupie cut a few tunes with Johnny, ’Don’t Go Julie’ and ‘Everyday Wondering’ the latter of which had success not only in Jamaica, but also in the UK reggae market. The back bones of ‘Everyday Wandering’ now voiced by Rupie himself would lead onto an even bigger hit in the 70’s with the classic ‘Irie Feelings’.

Johnny Clarke’s decision to move on around this time coincided with producer Bunny ‘Striker’ Lee looking for a new singer to compete in the ever-moving Dancehall arena. Johnnie’s break came in a strange way, having provided backing vocals initially to a Bunny Lee produced cut, Earl Zero’s ‘None Shall Escape the Judgment’. The very same session the drummer on the track, Carlton ‘Santa’ Davis, when asked by Bunny to come up with some new sound and while working the High - Hat cymbals, hitting it when open, then when shut (based on the Philadelphia Disco Sound known as the Phili - Sound) gave what the reggae world would call a ‘Flyers Sound’. On transferring the tune to four tracks to mix down at King Tubby’s studio, Earl Zero’s vocal was mistakenly left off. Johnny Clarke being present at King Tubby’s and knowing the track already inside out, then sang the lead vocal. The track became a smash Sound System favourite and the rest as they say is history.

Johnny Clarke became one of Bunny’s main vocalists during the heyday that was the 1970’s. It’s from this vast cannon that we have selected some of the singer’s finest cuts. His soulful voice worked the musical field from Dread to Rockers to Lovers Rock.A great gift that on playing this album we hope you’ll agree carries through with the tests of time.

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• HIGH RESOLUTION AUDIO MASTER, CUT ON 45 RPM
• GRAMMY AWARD NOMINEE, THREE-TIME ECHO AWARD
NOMINEE, THEODORE PRESSER AWARD RECIPIENT JAZZ MUSICIAN THEO CROKER
• FEATURING ARI LENNOX, GARY BARTZ, CHARLOTTE
DOS SANTOS, MALAYA, IMAN OMARI, KASSA OVERALL &
WYCLEF JEAN
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TURQUOISE COLOURED VINYL

Every trip needs a guide. Through the trumpet, the Grammy Award-nominated artist, producer, composer, tought leader, influencer and tastemaker Theo Croker narrates a human story rooted in intimate experience, yet cognizant of cosmic consciousness. This journey unfolds in technicolor on his sixth full-length offering, BLK2LIFE || A FUTURE PAST.

“BLK2LIFE || A FUTURE PAST is meant to be a deeply impactful, personal experience for the listener. One that you can also dance to - it is Black music after all,” Croker says.

BLK2LIFE || A FUTURE PAST consists of 13 tracks and is inspired by the forgotten hero’s journey towards self-actualization within the universal origins of blackness. It’s a sonic celebration of Afro-origin, and ultimately a reclamation of the culture, for the culture. Joining Croker on the album are Ari Lennox, Charlotte Dos Santos, Gary Bartz, Iman Omari, Kassa Overall, Malaya, and Wyclef Jean.

BLK2LIFE || A FUTURE PAST is cut on 45 RPM with a high resolution audio master. The album is available as a limited edition of 750 individually numbered copies on turquoise coloured vinyl, housed in a gatefold sleeve.

Bis ins Jahr 1973 reicht die Historie von Mass zurück, als Günther V. Radny (das V. steht für Viktor) mit Sänger Josef Hartl, Gitarrist Walter Speck und dem Schweizer Drummer Charles Frey (heute als Akron bekannter Autor) die Formation Black Mass startete. Nachdem Speck wegen psychischer Probleme mit tödlichen Folgen ausfiel, ersetzte ihn der Saarbrücker Gitarrist Gerd Schneider, der zuvor mit ScorpionsSchlagzeuger Hermann Erbel alias Herman Rarebell bei RS Rindfleisch gespielt hatte. Schneider musste allerdings nach einem Jahr wegen massiver Drogenprobleme wieder gehen und wurde durch den englischen Gitarristen Mick Thackeray (The Merseys), der in der Schweiz mit den Slaves und Countdowns, und in München mit Abi Ofarim spielte, ersetzt. Zur gleichen Zeit ersetzte Johannes Eder, von der englischen Band I Drive kommend, Drummer Frey, der sich laut Radny „auf den Büchertrip“ begeben hatte. Zudem wurde der Bandname auf Mass verkürzt. In dieser Besetzung nahm MASS im April 1975 im Studio 7o in München mit Dave Siddle am Mischpult,
der unter anderem mit den Beatles, Jimy Hendrix, Jeff Beck, Animals und Deep Purple arbeitete ein Album auf. Aufgrund der Drogenprobleme von Sänger Josef Hartl wurde dieses Album nie veröffentlicht. Leider sind diese Bänder bis heute verschollen. Doch damit nicht genug der unruhigen Zeiten: Ein Jahr später mussten Hartl (Drogenprobleme, verstorben 1998) und Thackeray (übermäßiger Alkoholkonsum), gehen. Mit dem aus Berlin gekommenen Detlef „Dave“ Schreiber als neuem Gitarristen war die Formation als Trio 1976 erst einmal stabilisiert. 1977 entstand das Album „Back To The Music“, welches bei United Artists Records (Hawkwind, ELO, Don
McLean) erschien.

In Folge wurden Mass als teils boogieorientierte Hardrockgruppe, anschließend als Heavy Metal Band bekannt und genießen heute ähnlich wie Accept, Scorpions, Trance oder Fargo Pionierstatus. Nach einer zeitweisen Umbenennung in Monsters kehrte Bandboss Günther V Radny kürzlich mit Mass zurück und lieferte eine gefeierte Reunion-CD. Die Band wurde auch kürzlich von Golden Core/ZYX geehrt, da je ein Track von Mass und Monsters auf der Compilation „Sound & ActionGerman Hardrock & Heavy Metal Rarities Vol. 1“ zu finden ist. Im Zuge dieses Kontaktes kam es zu der längst überfälligen Idee, das Debütalbum von Mass erstmals auf CD (und erneut auf Vinyl) zu bieten.

Limited 10" in special tip on sleeve. With influences including Kamaal Williams, Roy Ayers, The Breathing Effect, STUFF. and Black Midi, their sound is rich in texture and depth with an underlying, undeniable groove throughout.

SATURATED! The various artist series on vinyl has proven to be the epitome of curation in bass music since its inception.
The whole package is curated such that each track perfectly flows into the next.
Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment,
SATURATE! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists.
and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scene's biggest names. These compilations present
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.
Get it now!"

"Rare, super limited 005 from SATURATE! Records 7'' single series, featuring the now defunct Naive Machine and KRSUR with some smooth hyper colored Garage and Footwork vibes, I don't want to say this but Calling Me has that James Blake feel. It's better, with the swing and even more uptempo."

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Limited to: 300 copies.

Lera Lynn blurs the boundaries between genres, carving out a sound inspired by art-pop, indie-folk and the outer edges of American roots music. She’s a singer. She’s a songwriter. She’s a road warrior. She’s a multi-instrumentalist and producer. She’s a mother.

Texas born, Nashville resident Lera Lynn is just as comfortable creating an album entirely by herself, as she is collaborating with her heroes. In 2018, she worked with T Bone Burnett and Rosanne Cash on tracks that were not only picked up by the TV show True Detective, but Lynn was cast as a recurring character who performs in a dive bar frequented by the main characters.

However, nothing could have prepared Lynn for the lessons learned during motherhood. She welcomed her first son during the early months of the pandemic and began writing down her insights, chronicling this newfound experience of shifting priorities, strange endings, and new beginnings. Inside, she was battling postpartum depression. Outside, a bigger picture began taking shape: a feeling of interconnectedness, of cyclic renewal, of the knowledge that every beginning is an end and every end is a beginning. Those realizations coalesced into Something More Than Love, a record filled with synthesizers, lush soundscapes, the pop-noire punch of Lynn's voice, and the most dynamic melodies of her career.

Inspired by the cyclical patterns that shape our place in the world, Something More Than Love was co-produced and largely performed by Lynn and her partner, Todd Lombardo (Kacey Musgraves/Donovan Woods/Kathleen Edwards). They'd met years earlier, not long after Lynn relocated to Nashville from her college town (and musical launchpad) of Athens, Georgia. "My first time ever co-writing a song was in Nashville with Todd," she says of the ACM-nominated multi-instrumentalist. The two became fast friends and, eventually, partners; their creative chemistry giving way to romance and a growing family. That partnership reached a new milestone in 2021, with the newfound parents sharpening their creative instincts and expanding their palette for Lynn's sixth album.

"A lot of people were making records during the pandemic," Lynn notes, "and all they had was time. But it was the opposite experience for us. We created this whole record while still in the fog of early parenthood, and we didn't have the luxury of waiting for lightning to strike. We had to be focused and intentional."

Striking a balance between intimate self-reflection and universal insight, Something More Than Love poses big questions over even bigger-sounding music, with tempos and layered arrangements that find Lynn at her most dynamic. Illusion opens the album with spacey synthesizers before snapping into a taut, 1980s-influenced groove, combing reverb and rhythm into a song that swoons one minute and struts the next. I'm Your Kamikaze — a deconstructed burst of indie garage-rock, heavy on melody and percussive pulse — unfolds like a salute to self-sacrifice, with Lynn dedicating her own existence to ensuring her child's flourishing. What Is This Body? finds her reassessing her ideas of physical identity and womanhood, while the album's gorgeous title track makes room for slow-burn strings and a meteoric chorus.

Together, those songs turn Lera Lynn's experience with absolute surrender — surrendering oneself to the trials and triumphs of motherhood — into a universal record about the experiences that bind us together. This isn't just Lynn's story. It's the story of a life cycle that repeats itself over and over, every termination point becoming a starting line, every death matched by a rebirth, every edge giving way to the circular slope of the ouroboros.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Long before Lina Seybold became a geologist, the singer and guitarist was already writing songs and making a name for herself far beyond the city limits of Munich with her Steve Albini-trained (and produced) quartet candelilla, before the band dispersed into new projects. During her studies, she met Moritz Gamperl and the two realised that what they learned in rock research could also play a role in rock music. Thus, the material history of the planet became both a source of existential reflections for the two and the impetus for a highly accomplished and often graceful sound, which has been expressed in the band pirx together with drummer Sascha Saygin since 2019: Technically sovereign, obstinate songs that - with Seybold now on bass and vocals - create subtle dramaturgies, cinematic aesthetics, far-reaching arcs of tension.

With Lamina, the trio now presents an excellent debut album, recorded by Martin M. Hermann, which shoots out of the earth with explosive force as hot lava, only to flow into the valley in glowing beauty the next moment, changing the earth's surface, telling of elemental forces - until it finally evaporates the water in the sea and lays a comatose fog over all existence. Or in other words: pirx make creation music, in all directions of time!

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.

Repressed , please note price increase, all orders have been cancelled, please re-order! Pre-Revolution Psychedelic Rock from Iran: 1972 - 1979

Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh’s Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them – along with key ephemera from the 70’s. Their collection here - spread over two CDs, a 3-LP and a 4x7” box set - bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity.
Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60’s and early 70’s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize.
His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians – including his brothers – fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition.
Kourosh still lives in Tehran and is pleased that his story – and his glorious 70s recordings – will finally spread the world over.

Silversun Pickups kehren mit ihrem sechsten Studioalbum "Physical Thrills "zurück, das am 19. August über das bandeigene Label New Machine Recordings erscheint. Physical Thrills, der Nachfolger des 2019 erschienenen Albums Widow's Weeds, wurde von Butch
Vig (Nirvana, Garbage, Smashing Pumpkins, Green Day, Foo Fighters) produziert und von Billy Bush gemischt.

Physical Thrills umfasst eine eklektische Mischung aus verzerrten Synthesizern, tanzbaren Pop-Melodien, reduzierten Balladen und einer Sammlung von "Dream Shanties"-Melodien, die alle miteinander zu einem kohärenten Gesamtwerk verbunden sind. Das Kunstdesign
stammt von Lawrence Azerrad (Grammy®-Gewinner für The Voyager, Wilco).

Hail CONAN: England’s Doom Metal Größe schlägt zurück!

Das Gebrüll der Schlacht, der Gestank von vergossenem Blut, tausende Köpfe aufgespiesst zu einem grimmigen Hügel voller Leid: England’s Doom Metal Größen von CONAN schlagen wieder zurück!
Nach ihrem von Fans und Presse gefeierten Album „Existential Void Guardian“ in 2018, und ihrer erst im
letzten Jahr veröffentlichten „Live at Freak Valley“ Platte, steht das Britische Trio nun in den Startlöchern
für die Veröffentlichung ihres fünften Studioalbums, welches den vielversprechenden Titel „Evidence of
Immortality“ trägt und am 19. August 2022 über Napalm Records erscheint.
Vom gigantischen Opener „A Cleaved Head No Longer Plots“ an, wird dich CONAN‘s kommender Epos
wie eine Dampfwalze überrollen. Die absoluten Meister der brutal schweren Langsamkeit bringen ihre
tief-gestimmten Äxte und aufgedrehten Pedals bis ans Limit, wenn sich überdimensional grollende Power
Akkorde und Riffs wie Lanzen aus unendlicher Verzerrung tief in dein Mark bohren und Drum Grooves, die
wie das Donnern eines Gottes vor den Toren der Hölle klingen.
„Evidence of Immortality“ wurde von Chris Fielding produziert und von James Plotkin gemastert, auf „Grief
Sequence“ ist ausserdem ein Gastspiel vom ehemaligen Bandmitglied Dave Perry zu hören.
Verneigt euch vor CONAN, denn der Sound dieser Band wird ohne Frage für immer auf den Schlachtfeldern
des Dooms weiterleben, und ihr neues Album ist der endgültige Beweis für ihre Evidence of Immortality!

Two years ago, Fräulein were newcomers to the Bristol alternative scene, initially making their mark by performing at a weekly open mic night at the local pub. When the pandemic forced us all to slow down, Joni Samuels and Karsten van der Tol used this as an opportunity to hone their craft and develop their unique, raucous sound. Moving to London in 2021, the duo began again, quickly joining forces with tastemaking label Practice Music (Squid, Deep Tan). In 2021, the duo threw down the gauntlet by releasing their first three singles: ‘Pretty People’, ‘Belly’ and ‘By The Water’. With these tracks Fräulein solidified their signature sound; cathartic 90’s flavoured alt rock influenced by the likes of The Breeders, PJ Harvey and Big Thief that also incorporates cavernous grooves, intricate melodies and sharply observational lyrics punctuated by a unique brand of direct yet surrealist imagery. These initial efforts won widespread support from the likes of Spotify (Hot New Bands, Fresh Finds), CLASH, DIY Magazine, KEXP and BBC Radio 1 (Daniel P. Carter). The band built on this new momentum by starting to establish themselves as a ferocious live act. Highlights of a busy concert year included playing at their first post-covid festival Sound City, a sold out debut headline show at iconic Brixton venue The Windmill, plus performances alongside the likes of Goat Girl, Talk Show and Dream Nails. 2022 seems set to be another exciting year, with the band both returning to the studio and heading out on a further string of shows - including a tour in March supporting The Mysterines across the UK and Ireland. For a newly minted band their output has quickly taken on a confident flare, with a sonic bombardment that defies the usual boundaries of the two piece trope both on record and in concert.

Progressive Rock Band SiX BY SiX release their self-titled debut album featuring members of Saga, The Greg Kihn Band & Saxon. On more than 45 minutes of prog-influenced heavy rock Robert Berry (vocals), Ian Crichton (Guitar) and Nigel Glockler deliver a very strong musical statement. The signature guitar sound of Saga-Guitarist Ian Crichton provides the final touch to an all-around harmonic longplayer. “SiX BY SiX” will be available as Ltd. CD Digipak, Gatefold LP+CD and on all digital platforms.

“20 Centuries Gone” is a collection of two new original songs and six cover songs that span the timeline of SPIRIT ADRIFT’s most foundational influences. Featuring artwork by Brian Mercer (Lamb of God, High on Fire, Mastodon), and mixed by Zeuss (Overkill, Crowbar, Municipal Waste), this release is a powerful journey through the past, present, and future of classic metal’s most exciting new band. SPIRIT ADRIFT mastermind Nate Garrett comments: “I always thought it would be a cool experience to record some songs by bands that are foundational to the DNA of SPIRIT ADRIFT. These choices are obvious and on the nose to me, but maybe unexpected to the fans. That made the whole thing a lot of fun. A band like Lynyrd Skynyrd might not be the first thing you think of when considering SPIRIT ADRIFT’s influences, so the task for me became figuring out how to honor these great songs, but in the distinct SPIRIT ADRIFT style. To make the whole thing even more special, I channeled these influences and wrote a couple of new songs to kick things off. There’s a lyric in ‘Sorcerer’s Fate’ that mentions ‘past and future both aligned,’ and that became the concept here. The whole thing is presented in reverse chronological order. That way, you get a sense of where SPIRIT ADRIFT is headed, but you’re also taken on a journey back in time through our most fundamental influences. Hope y’all enjoy it!” “20 Centuries Gone” is available as: LP, Standard CD Jewelcase and Digital Album

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable has been delighted to reissue All Strapping Young Lad Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. This is the last one of the series and what an incredible debut album , Sheer Madness ! Grab it now !.Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances.

20 Centuries Gone' ist eine Sammlung von zwei neuen Originalsongs und sechs Coversongs, die die Zeitachse der wichtigsten Einflüsse von SPIRIT ADRIFT umspannen. Das von Brian Mercer (Lamb of God, High on Fire, Mastodon) optisch gestaltete und von Zeuss (Overkill, Crowbar, Municipal Waste) abgemischte Album ist eine kraftvolle Reise durch die Vergangenheit, Gegenwart und Zukunft der aufregendsten neuen Band des klassischen Metal. SPIRIT ADRIFT-Mastermind Nate Garrett kommentiert: 'Ich dachte immer, es wäre eine coole Erfahrung, einige Songs von Bands aufzunehmen, die die DNA von SPIRIT ADRIFT begründen. Diese Auswahl ist für mich offensichtlich und naheliegend, aber für die Fans vielleicht unerwartet. Das hat die ganze Sache zu einem Riesenspaß gemacht. Eine Band wie Lynyrd Skynyrd ist vielleicht nicht das erste, was einem einfällt, wenn man an die Einflüsse von SPIRIT ADRIFT denkt. Also war es meine Aufgabe, herauszufinden, wie man diese großartigen Songs ehren kann, aber im unverwechselbaren SPIRIT ADRIFT-Stil. Um die ganze Sache noch spezieller zu machen, habe ich diese Einflüsse kanalisiert und ein paar neue Songs geschrieben, um die Sache in Gang zu bringen. In 'Sorcerer's Fate' gibt es einen Text, in dem es heißt, dass 'Vergangenheit und Zukunft aufeinander abgestimmt sind', und das wurde zu dem Konzept dieses Releases. Die ganze Sache wird in umgekehrter chronologischer Reihenfolge präsentiert. Auf diese Weise bekommt man ein Gefühl dafür, wohin SPIRIT ADRIFT sich entwickelt, aber man wird auch auf eine Reise in die Vergangenheit durch unsere wichtigsten Einflüsse mitgenommen. Ich hoffe, es gefällt euch!

15 Heavy Funk Rarities Presented As A Double Gatefold LP. Cold Heat is Eothen “Egon” Alapatt’s a follow-up to the famous Funky 16 Corners set he curated in the early 2000s. And like that one, Cold Heat is overflowing with great bits that had barely (or never) been heard by the rest of the world at large. Egon went through a range of rare singles, masters, and demos and came up with tunes that burn with a brightness that's undeniable. The grooves are all on the harder end of the James Brown Funky People side of the spectrum and some tracks are by names that finally got their due here, thanks to Egon, Now-Again, and some of the other funky forces doing the good work over the years.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

PARASITE INC. sound anno 2022 both harder and softer, faster and slower at the same time, more modern and yet again more 80s than ever before! Musical contrasts, which are no novelty with PARASITE INC., because after all, the Swabians surprise since the beginning of their career again and again with their somewhat different interpretation of the Melodic Death Metal genre.
During the pandemic, ten songs were created in the band's own studio under the title "Cyan Night Dreams", which show a consistent musical development towards an even more independent sound garb. The result is a varied album, which comes along harder and more aggressive than the predecessor, but at the same time brings the melodic facets of the band even more to the fore.
From songwriting, to production, to graphic design, the German melodeathers once again developed an overall concept that perfectly reflects the dark mood of the songs. The mixing and mastering was done this time by Aljoscha Sieg and Seb Monzel from

(DIGIPAK)
WW ex-Japan ex-USA 4251981701806

(VINYL)
WW ex-Japan ex-USA 4251981701813

Pitchback Studios (among others Eskimo Callboy, August Burns Red), where already the last studio album, as well as the live concert was refined by their internationally appreciated work in the mastering process. The album was supported by the Initiative Musik as part of the "Neustart-Kultur-Programm".

Isle Of Wight’s resident slacker pop queen. Lauran Hibberd’s rise towards the forefront of the emerging indie elite shows no signs of slowing, with her charismatic, tongue-in-cheek songwriting already attracting widespread press attention (The Guardian, NME, The Line Of Best Fit, Dork, DIY, Billboard, NYLON, Clash, Gigwise, Upset), and significant praise across BBC Radio 1 airwaves (Clara Amfo, Jack Saunders, Jordan North).

Deep Purple’s “Bombay Calling – Live in `95“, will be released in a remastered Limited Numbered 3 LP Gatefold Vinyl as well as a Limited Numbered 2 CD Digipak, both versions including the Live-DVD! This live take had only been available on bootleg-quality DVD so far. “Bombay Calling” was recorded in early 1995 and is one of the first shows Deep Purple played with Steve Morse showcasing his virtuosic guitar skills and some of the new material would later make it onto the widely celebrated studio album “Purpendicular”. Astonishingly, the long thought lost master tapes for this unforgettable show in Mumbai were found lying around in an old cardboard box in November 1999. A true gem for any fan, they offer rare insight into the extraordinary talents of this phenomenal rock band. The Indian press gave the concert rave reviews, with many claiming it to be the best rock show ever staged in India.

Rose City Band is celebrated guitarist Ripley Johnson. A prolific songwriter, Johnson started Rose City Band to have an outlet to explore songwriting styles apart from Wooden Shjips and Moon Duo, where he is often not the lead songwriter. Rose City Band allowed him to follow his musical muses as they greet him and not be bound by the schedule of bandmates and demands of a touring group. Stepping out from behind the psychedelic haze that envelops his other output, Rose City Band"s lean yet richly textured arrangements lay bare the beauty of his songcraft. On Earth Trip, Johnson reveals more of himself than ever before, coloring the project"s country-rock twang with a melancholic, wistful undertone. It charts a journey of personal growth and introspection with surprising honesty, from pining for summers spent with friends to meditations on space, stillness and the splendor of the natural world. It continues Rose City Band"s celebration of summer warmth and the great outdoors, seen from a new vantage point, and with newfound appreciation for the freedom and joy that nature provides. Earth Trip was written during a period of sudden shocks and drastic lifestyle changes for Johnson. Forced to cancel extensive touring plans for 2020, the guitarist found himself home for an extended period for the first time in years. No longer in constant motion, he was able to experience and enjoy the simple pleasures of home life, of being in one place: hikes in nature, bathing outside, and waking with the dawn. Forming new connections to his surroundings, from tending to a garden to sleeping out under the stars, Johnson found hope and healing in a more mindful relationship with the natural world. Themes of recalibration and finding personal space are equally mirrored in Earth Trip"s lean production. Recorded at his home studio in Portland and mixed by Cooper Crain (Bitchin" Bajas, Cave), Johnson makes deft use of space while experimenting with new sonics. Shimmering pedal steel, woozy harmonica melodies, and stately piano enhance the album"s introspective tone without ever clouding arrangements. Psychedelic elements that nod to Johnson"s other projects and influences still appear throughout, but hover at the edge of perception, a subtle halo adding colour and texture to Johnson"s songwriting rather than taking centrer-stage. He elaborates: "I told Cooper I was trying to capture that feeling when you take psychedelics and they just start coming on - maybe objects start buzzing in the edges of your vision, you start seeing slight trails, maybe the characteristics of sound change subtly. But you"re not fully tripping yet. He got the idea right away and his mix really captures that feeling." Johnson"s lithe guitar playing throughout treads a fine line between country and cosmic, taut melodies spiralling out into long reverb trails or free-form solos buoyed by a breeze, radiating summer warmth. Through its daring honesty and masteful arrangements, Earth Trip cements Johnson"s place as a singular songwriter of inimitable skill. It"s message of mindfulness and our interconnectedness to the environment expands on a long country and blues music tradition that draws a symbiotic relationship between storyteller and the land, capturing the beauty of the natural world while also emphasising our responsibility in preserving it for future generations

2LP im Gatefold-Sleeve. 100% recyceltes & zufällig gefärbtes Re-Vinyl. "Black Screen Records, Videocult, Akapura Games und Komponist James Primate freuen sich darauf, euch erneut bei der akustischen Reise durch die seltsame "Rain World" zu begleiten. Nachdem der Soundtrack jahrelang ausverkauft war, wird er nun endlich neu aufgelegt. Dieses Mal auf 100% recyceltem & random-coloured "Re-Vinyl". Die Musik stammt von Videocult-Level-Designer und Komponist James Primate - mit Unterstützung von Lydia Esrig (die andere Hälfte des Chiptune-Duos BRIGHTMATE) und Rain World-Schöpfer Joar Jakobsson.Die Platte erscheint in einem Gatefold-Sleeve mit atemberaubenden Artwork von Allegra "Del" Northern. Zusätzlich enthalten ist ein 12" Kunstdruck mit weiteren Illustrationen von Del.

Eiseskälte, Begräbnisstätte und Würmer, die in toten Dingen herumschwirren. Während die Raben in der Ferne krächzen und die Stufen zum Galgen immer näher rücken, spielen TOMB OF FINLAND kalten und schweren Death Metal mit einem Hauch von Melodien, der sich wie ein Presslufthammer in deinen Kopf bohrt. Und nach den beiden Vorgängeralben "Below The Green" (2015) und "Frozen Beneath" (2018) ist es an der Zeit, dass die Melodic-Death-Metal-Doomster ihre vielseitigste und schneidendste Materialkombination präsentieren, die die Band bisher zu bieten hat.

Tightes Spiel mit starken Melodien und solider Interpretation bringt ihr drittes Studioalbum "Across The Barren Fields" einen Schritt näher an die finnischen Top-Metal-Acts. Im Gegensatz zu den erdrückend schweren Klängen und dem bodenständigen Album, aufgenommen, gemischt und produziert von Hauptkomponist und Gitarrist Jasse Von Hast, hat die blutige Suppe eher zarte Schlagereinflüsse, was die Kombination zumindest originell macht. Etwas Altes. Mehr Neues. Tomb Of Finland sind im Jahr 2022 zehn Jahre alt geworden, was liegt da näher, als dies mit einem neuen Album und Live-Publikum zu feiern?

Tomb Of Finland begannen im Herbst 2009 in Finnland mit dem Ausheben von Gräbern. Aus dem Grab kam eine fünfköpfige Band zum Vorschein, die sich aus Spielern mit unterschiedlichem musikalischen Hintergrund zusammensetzt, darunter Charon, Kaunis Kuolematon, Cartilage,

Vomiturition, Enochian Crescent und Elvenscroll. Nach zwei Full-Lengths und zahlreichen Live-Begräbnissen unterschrieb die Band bei UPRISING!


Records, um die Welt mit ihrem dritten, noch unruhigeren Album zu verdammen.

Eiseskälte, Begräbnisstätte und Würmer, die in toten Dingen herumschwirren. Während die Raben in der Ferne krächzen und die Stufen zum Galgen immer näher rücken, spielen TOMB OF FINLAND kalten und schweren Death Metal mit einem Hauch von Melodien, der sich wie ein Presslufthammer in deinen Kopf bohrt. Und nach den beiden Vorgängeralben "Below The Green" (2015) und "Frozen Beneath" (2018) ist es an der Zeit, dass die Melodic-Death-Metal-Doomster ihre vielseitigste und schneidendste Materialkombination präsentieren, die die Band bisher zu bieten hat.

Tightes Spiel mit starken Melodien und solider Interpretation bringt ihr drittes Studioalbum "Across The Barren Fields" einen Schritt näher an die finnischen Top-Metal-Acts. Im Gegensatz zu den erdrückend schweren Klängen und dem bodenständigen Album, aufgenommen, gemischt und produziert von Hauptkomponist und Gitarrist Jasse Von Hast, hat die blutige Suppe eher zarte Schlagereinflüsse, was die Kombination zumindest originell macht. Etwas Altes. Mehr Neues. Tomb Of Finland sind im Jahr 2022 zehn Jahre alt geworden, was liegt da näher, als dies mit einem neuen Album und Live-Publikum zu feiern?

Tomb Of Finland begannen im Herbst 2009 in Finnland mit dem Ausheben von Gräbern. Aus dem Grab kam eine fünfköpfige Band zum Vorschein, die sich aus Spielern mit unterschiedlichem musikalischen Hintergrund zusammensetzt, darunter Charon, Kaunis Kuolematon, Cartilage,

Vomiturition, Enochian Crescent und Elvenscroll. Nach zwei Full-Lengths und zahlreichen Live-Begräbnissen unterschrieb die Band bei UPRISING!


Records, um die Welt mit ihrem dritten, noch unruhigeren Album zu verdammen.

Collins Dictionary Example sentence: „Other ocular signs include involuntary rhythmic movement of the eyeball.“ Someone in the editorial department wasn‘t paying attention and involuntarily spoke a deeply buried truth: The movement from the eye to rhythm and from there to sound is sometimes a small, puny one.

Now Infuso Giallo provides the proof at the same time and implements his live show for last year‘s debut album „Ocular Soda“ as an audio-visual show, as intertwined senses. Visible sound, audible images. Such ideas only last when they are put to the test and scrutinised by several experts.

The duo Globus, which consists of 2/5 of the post-hardcore band PTTRNS, examines the synth hook of the second part of the double-opener „Every Waking Hour Pt.2“ by playing it, varying it, letting it sway.

In contrast, Anatolian Weapons from Athens can‘t help but immerse the ambient, Soft Machine-production-like first minutes of „Every Waking Hour Pt.1“ in a sinister black light. Staggering into a basement club filled with nocturnal shadow people and indulge in carousing. Cautiously at first, then more and more determinedly.

From Hamburg and Berlin, the „Mole Gaze“ gets a special treatment. The trio Love-Songs drags the number off to Hamburg harbour, packs it onto a steamer, deep into the bow and lets it operate the sonar there. Conrad Schnitzler would have been delighted.
Infuso Giallo, meanwhile, realises that there is nothing more boring than standing still, so he revamps „Hello World“ and gives it a rear spoiler that keeps this number in lane even at club speed.
Speaking of „keeping in lane“: Niklas Wandt, the magician, doesn‘t even try such tricks. He simply throws an acid bolt on the closer „Ocular Soda“ and waits to see what happens. Alongside breakbeats from nowhere, Albert Hoffmann himself appears on a bicycle.
„Ocular Soda Remixes“ is the first tape on the Kame House label, so there‘s only one thing to do: open your eyes and listen!

Kavinsky is a zombie who came back from the dead after his Testarossa crashed in 1986.

His first song, "Testarossa Autodrive", was an instant success, and was followed by two singles. In 2007, he was chosen by Daft Punk to open their now legendary "Alive" tour.

In 2011, his track "Nightcall", produced with Guy-Manuel de Homem-Christo, became the theme song for the film "Drive", and consequently a worldwide success.

Kavinsky's first album, "Outrun", was released in 2013, followed by a collaboration with The Weeknd on the song "Odd Look".

In 2022, Kavinsky is back with "Reborn", his second album recorded at the famous Motorbass studio in Paris, due March 25th. "Renegade" which was recorded in collaboration with Victor Le Masne and Gaspard Augé (half of Justice) reinvents the French producer’s unique recipe: dark mood but with a thunderous groove. With a vocal assistance from Cautious Clay, « Renegade » announces one of this years’ most anticipated comebacks.

New full length album of Franck Vigroux's uncompromising signature sound of colossal electronic music. Atotal gathers material from Franck's latest live A/V of the the same name. Working with his long time visual partner Antoine Schmitt, ATOTAL is an audiovisual performance aiming to reconstruct in order to better deconstruct the processes of imposition of will by repetition and absolute synchronism, to propose a breach to a potentially life-saving decoincidence. The total work of art, when pushed to its paroxysm of absolute coincidence of the perceptions of a captive spectator, is similar to the techniques of mental manipulation of totalitarian regimes, proceeding by annihilation of the critical mind, repetitive semantic pounding, subliminal messages. The ideal of a deterministic universe of Newton in which everything rationally stems from its causes, in which everything is predictable like a totality for Laplace’s daemon, where everything can be considered already written, has been undermined in the infinitely small of the uncertainties of Heisenberg which tell us that it is impossible to know everything about a particle, in the quantum mechanics of Schrödinger which reveals to us that the looker affects the looked-at, and in the infinitely abstract of Gödel’s incompleteness which explains to us that certain things are literally unexplainable. The show ATOTAL slips into these flaws and, like a clinamen of Lucretia, deviates the visual and audio atoms from their destiny. Mastering by Denis Blackham. Artwork by Mostafa Khaled

Following the commercial success of the 2021 album Unf*ckwitable and an overall banner year for the Detroit rapper, Babyface Ray comes with the aptly titled and highly anticipated album, FACE, which sees him stake his claim as “The Face of the City.” Production on the twenty-track album is largely handled by 808 Mafia, DJ Esco and others, and features appearances from Icewear Vezzo, Yung Lean, Pusha T, G Herbo, Wiz Khalifa, 42 Dugg & Landstrip Chip. With an already impressive list of cosigns from artists such as Future and Tyler, The Creator, Babyface Ray continues his all-out assault to put Motor City on the map and isn’t taking his foot off the gas anytime soon.

Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.

Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.

The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.

The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.

This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.

Green Vinyl

Here we have the third instalment of the highly anticipated Knitebreed Remixes series on clear green vinyl. Following on from volumes 1 and 2, we have yet another amazing remix EP. Our headliner this time is none other than NRG, remixing an Ant To Be classic. NRG has a sound all his own and he really expresses that with this remix. Heavy chopped vocals and sharp as a knife breaks throughout, that leave you in no doubt that this is professional at the height of his powers. Meanwhile, Paul Bradley remixes Knitebreeds very own Sunny & Deck Hussy taking their piano based track and adding some filthy stabs and toughening up the breaks. On the flip side, Tenerife meets Germany when Wislov remixes TNO Project. These 2 have very different styles, but Wislov’s style really fits the manic style of TNO and this remix is wonderful. Rounding out this EP is a Hired Gun & Lowercase remix of a Wislov track, Do You Wanna Stay. The original is a very atmospheric track so when it was time to remix the only way to do it justice was to make it jungle, Hired Gun provided that perfectly whilst The Lowercase pushed him to go harder and then bring it back with a piano

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Black Truffle is thrilled to continue its program of archival releases from Arnold Dreyblatt with a recently unearthed concert recording from Dreyblatt and Paul Panhuysen’s "Duo Geloso". While isolated examples of Dreyblatt’s collaboration with the legendary Dutch multi-media artist appeared on the CD reissue of Propellers in Love and Black Truffle’s wide-ranging archival Second Selection, this is the first release to document the variety and playfulness of the concerts that Duo Geloso performed throughout Europe in 1987-88. Both working across sonic and visual forms, fascinated by numerical relationship and the infinite complexity of string harmonics, Dreyblatt and Panhuysen had a natural affinity for each other’s work, strengthened through Dreyblatt’s many visits to Het Apollohuis, the important experimental art space Panhuysen helped to found in Eindhoven. However, as René van Peer suggests in the liner notes enclosed within this release, Dreyblatt and Panhuysen took very different approaches to these shared interests; the wonderful energy of these Duo Geloso performances results from the meeting of Dreyblatt’s more austere, compositional process with Panhuysen’s spontaneity.

Recorded at a concert at Het Apollohuis in December 1987 (a series of beautiful photographs of which adorn the LP’s packaging), each of the six pieces presented here is distinctive in terms of instrumentation and performance approach. Using electric guitar and bass tuned by Dreyblatt and played using E-Bow and Panhuysen’s motorised plectrums, the opening ‘Razorburg’ moves slowly through a long series of held notes with a madly insistent tremolo that crosses Dick Dale with a mechanised take on the layered guitars of Günter Schickert. The same pair of instruments returns on ‘Duo for Guitars’, where the mechanised attacks dissolve into a harmonic wash, reminiscent of the machine guitar work of fellow Het Apollohuis alumni Remko Scha. On ‘Love Call’, the guitars and bass are accompanied by Panhuysen’s distant warbled vocals, familiar to Maciunas Ensemble listeners. On the remarkable ‘Synsonic Batterie’, Panhuysen begins proceedings with a solo barrage of electronic percussion on the Synsonics Drum Machine (a simple drum synthesiser produced by the toy manufacturer Mattell), joined eventually by Dreyblatt performing his signature percussive natural harmonics on pedal steel guitar. When Panhuysen adds his bird whistle to the mix, the performance becomes the perfect exemplar of the Duo Geloso’s unique mix of studious close listening and subtle absurdity.

Presented in a gatefold sleeve with archival photos and illuminating liner notes from René van Peer.

Back in stock!

Mit - Empire Of The Undead' veröffentlichen die Mannen um Mainman Kai Hansen (ex. Helloween und auch noch Unisonic) ihr mittlerweile elftes Studioalbum. Das erste seit 4 Jahren und dem Chart- und Ohrschmeichler - To The Metal', der GAMMA
RAY abermals ganz oben in die Ränge der Charts hieven konnte. - Empire Of The Undead' ist ein GAMMA RAY Album geworden, dass es seit langem nicht gegeben hat. Es ist unglaublich vielseitig, vielschichtig, hart und doch melodisch. Schnell auf
der einen Seite und extrem heavy auf der anderen. Es ist typisch GAMMA RAY und doch hat die Band ein Album aus dem Studio gewuchtet, wie seit ihren Anfängen nicht mehr: Das vielleicht beste Album ihrer Karriere.

incl. mp3
A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle’s fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 - a half-hour drive to collect an online order, the furthest distance he’d traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. “I was thinking about what’s going on in the world and how localised it has become for so many of my friends in different places,” Tuttle explains. “Not in a negative way but more so focusing on how lovely it is when things are good.”
Thinking of musician friends and peers around the world – each confined to their own immediate surroundings – Tuttle’s generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) – among many others – each fitting seamlessly into Tuttle’s vibrant musical world.
Whilst previously a feature of Tuttle’s music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle’s previous and breakthrough album Alexandra (Room40, 2020), inspired Andrew to develop songs that are as serene and patient as he’s ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew’s collaborators. “It is spacious through intent, process and assistance,” he confirms. "I thought carefully about what instruments - both what I played and what I asked others to provide based on my unadorned banjo track - would best work with what I was wanting to create.”
The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn’t necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.

“Tuttle’s plaintive banjo is encircled by an array of majestic sounds: serpentine electric guitar from Steve Gunn, enveloping electronics courtesy of Balmorhea’s Michael A Muller, violin swirls from Aurelie Ferriere , and the gentle saxophone of Joe Saxby. The result is a lush and unabashedly beautiful sonic landscape.’’ 8/10 UNCUT LEAD REVIEW
Andrew Tuttle's new single New Breakfast Habit is the perfect sonic condiment for the most important meal of the day. A banjo flecked ambient/cosmic journey with a psychedelic video courtesy of Matmos
His new album 'Fleeting Adventure' is the soundtrack of the world re-emerging and getting a release on Basin Rock (Julie Byrne, Aoife Nessa Frances, Johanna Samuels) this summer.

David Agrella returns to his Agrellomatica Records with the spacey house sounds of 'Flowing', featuring remixes from Ben Hauke & Mr Barcode.

Hot on the heels of his recent 'Freedom Unfolding' release, praised by Raresh, Sasha, Laurent Garnier, Vladimir Ivkovic and Dorian Paic, Italian-born tastemaker David Agrella is back on his Agrellomatica imprint with more intergalactic fire. This time, the London-based selector serves up four groove-laden cuts across 'Flowing', including remixes from Woop Records' Ben Hauke and Into The Wizards' Sleeve Mr Barcode.

Title track 'Flowing' is a cosmic voyage peppered with glossy pads, eerie synths and sharp percussion, before Agrella's own 'Sabotage Mix' throws in deep, driving tones, subtle robotic vocals, and interstellar keys. On the flip, Ben Hauke delivers a dubbed-out reshape, harnessing fluttering echoes, emotive harmonies and deep basslines. To close, Mr Barcode provides a punchy electro remix, as warped samples and driving low-ends get down in this slice of dancefloor mania.

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Moroccan Jajouka master Bachir Attar meets American experimental musician Elliot Shrap for a live jam of drum machines and traditional Moroccan instruments in 1990. Bachir Attar's Career spans five decades and represents the transcendental sounds of Jajouka, a small Moroccan village situated between Fes and Tangier, known for its unique mystical sound. Fans include William Burroughs and The Rolling Stones with which Bachir recorded with in 1989. A year later Attar collaborated with the prolific avant-garde jazz musician Elliot Sharp on this very Album. Both Sharp and Attar have dedicated their careers to exploring the meeting points between east and west and this album is a unique example of two brilliant minds creating a new, ultra trippy sonic experience. This release is the first collaboration between Fortuna Records and our friends Dikraphone Records out of Morocco, serious unearthers of lost Moroccan music. Look out for more Dikraphone-Fortuna collaborations in the future!

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Ride Tru, originally released digitally and on CD in 2014, stood every chance disappearing into the all eclipsing shadow of the LP released by them earlier that year, Beauty for Ashes, which had been named by iTunes as the reggae album of the year. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. So needless to say, the bar was high and Vaughn Benjamin and Zion I Kings must have known that, as they managed to raise it higher again.

Ride Tru continues in the same form, rootsy, soulful, refreshingly polished and authentically raw, the threads of anciency that any devout reggae lover will be looking for and the threads of modernity that keep it alive and appealing in the modern day. A uniquely regal tapestry that has become synonymous with music created from the unity of Zion I Kings and Vaughn Benjamin

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

“How does an artist follow an album considered by many to be the best reggae album of 2014?..... you get right back in the studio with the same brilliant production team and follow that album a few short months later with one that nearly eclipses it entirely.”
Midnight Raver — Worldareggae

“...remarkable for the clarity of Tippy’s mix and the contrast between the hardness of Lloyd Richards’ drums and the softness of the guitars, keyboards and brass. The woozy analogue warmth of an old Augustus Pablo production – Son of Jah Dub - for Worry Free demonstrates how well Vaughn sits on the sounds of the original masters (an avenue that should be pursued further). Another veteran guest is the late Style Scott - who beats out one of his final patterns on How I & I Carry On.”
Angus Taylor — United Reggae

"Full recording of one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.
It’s an unlikely pairing which works from the first breath. Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. They unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse.

Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.
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Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and oen collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics, and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.

Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.
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Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3."

Mondo, in conjunction with Back Lot Music, are proud to present the final chapter of the Jurassic saga: Michael Giacchino’s score to JURASSIC WORLD DOMINION.

Giacchino started his early career at Disney Interactive Division where he had the opportunity to write music for video games. After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, franchise creator Steven Spielberg hired him as the game’s composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Now, 25 years later, Giacchino comes full circle with this soundtrack to the epic conclusion of the Jurassic era, recorded with 87 orchestra members and 30 choir members at Abbey Road Studios in London. Fans can expect Giacchino’s usual tongue-in-cheek track titles that highlight the action of the score cues.

Mondo has released all Jurassic World franchise series albums on vinyl to date, so complete the trilogy with the Jurassic World Dominion release. Custom artwork was designed by artist Justin Erickson of Phantom City Creative. The package will include liner notes from Jurassic World architect and director of Dominion, Colin Trevorrow, and pressed onto 180-gram webstore exclusive color vinyl.

Composed by Michael Giacchino
Artwork by Phantom City Creative
Manufactured in Czech Republic

Pulselovers is the recording moniker of Doncaster's electronic music polymath - Mat Handley. In recent times, Mat's restless enthusiasm and boundless talent has seen him excel in a variety of related fields: as a much-loved broadcaster (presenting 'You, the Night and the Music'); dispensing his electronic magic as a member of the bands Floodlights and Vert:x; and founding the essential Woodford Halse tape label. While recording as Pulselovers, he has produced a string of impressive releases, including titles on Castles in Space, Sensory Leakage, Polytechnic Youth, Misophonia, Russian Library, Do It Thissen, as well as regular contributions to the iconic A Year In The Country album series. Mat explains how reviewing these AYITC contributions gave rise to the possibility of compiling a retrospective collection as a stand alone album: "Circles Within Circles contains tracks that have previously appeared on albums released by A Year in the Country between 2017 and 2020. Each collection had a particular theme which gave me an opportunity to experiment and develop the way I work by incorporating field recordings, tape loops and enrichments from additional instrumentation played by friends and kindred souls (guitar, bass, saxophone, flute, violin, vocals etc). For example, the track “Brodsworth” is built around a four track tape loop of different synth tones to create a rudimentary (and very lo-fi) Mellotron, played using the sliders on the Tascam 414 in place of keys. For “Fuggles”, my partner and I broke into an abandoned brewery in Sheffield and made recordings of the empty space and crumbling concrete. For “Beat Her Down” I assembled a virtual choir lead by Katje Janisch to sing a simple but disturbing folk nursery rhyme. It was my friend (and Floodlights main man) John Alexander who suggested collecting the AYITC tracks into a single volume and after several different permutations (around 5 pieces were excluded from this compilation), I think we’ve managed to put together something that feels like a coherent stand alone album. I’ve enjoyed revisiting these works, some of which I’ve not listened to in 5 years. Thanks to Steve Prince of AYITC for his inspirational concepts and to Dan at Subexotic for giving these pieces a second home.” Circles Within Circles will be released on 12th August, via digital platforms and limited edition pressed vinyl.

Strictly hush-hush bootleg remix action here, as Russian turntablist-turned-producer Paul Sitter delivers two more hand crafted gems based around vocals and samples from a wide variety of sonic sources. We're particularly enjoying A-side 'Galvanize', which adds Q-Tip's vocals from the Chemical Brothers tune of the same name to MPC tapped-out hip-hop beats and the horns, bass, guitars and organs from what sounds like an old psych-funk instrumental. He ups the tempo on 'Chewtacca', opting for a cheery, sample-heavy blend of boom-bap hip-hop and 1960s mod madness featuring snippets of the Ohio Express's 'Chewy Chewy' and a 2010 jam from rap duo Das Racist. It's very silly, but also very entertaining - the kind of thing guaranteed to put smiles on faces

Sacred Bones celebrates its 15th year label anniversary with this pink vinyl repress of the critically acclaimed The Turning Wheel. "It's weird to think that every classic album was new once; that even Purple Rain had a release date. As hyperbolic as the sentiment may seem, taking The Turning Wheel for it's inaugural spin for the first time gave me the distrinct feeling of hearing a record that it's impossible to imagine the world without." - The Wire

Für eine Band, die mehr als ein Jahrzehnt damit verbracht hat, den modernen Metal neu zu definieren, scheint für While She Sleeps das Beste noch bevorzustehen, denn 2022 werden sie auf einigen der größten Sommerfestivals der Welt spielen, in den USA und Australien unterwegs sein und im Herbst eine große

Europatournee mit Parkway Drive absolvieren. Mit ’SLEEPS SOCIETY (SPECIAL EDITION)’ erweitert die Band das erfolgreiche Sleeps Society-Album um drei neue Tracks sowie eine akustische Neubearbeitung von ’YOU ARE ALL YOU NEED’ und ’SYSTEMATIC’ mit Gastgesang von Rou Reynolds von Enter Shikari. Und die Tracks sind nicht einfach nur ”Add-Ons” - sie sind komplett in das Tracklisting des Albums integriert - was ein völlig neues Hörerlebnis
für die Fans schafft!

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

The members of Szun Waves may not have been collectively in the same country, let alone room, for over two years, but that hasn't prevented them from realising their third album, Earth Patterns. The trio - comprised of producer Luke Abbott, saxophonist Jack Wyllie (Portico Quartet) and drummer Laurence Pike (Triosk/PVT/Liars) - recorded the album sessions together at the tail end of their 2019 European tour, locking themselves away in the studio for three days of improvisation. They emerged with hours of music, some inspired by their live shows, most born fresh in the studio itself, ready to be moulded into the group's third album in five years.

Strut present the first box set release to bring together the 1970s recordings of The Pyramids, led by Idris Ackamoor. As students at Antioch College, Ohio, alto saxophonist Idris Ackamoor, flautist Margaux Simmons and bass player Kimathi Asante created three lasting monuments in sound - Lalibela, King of Kings, and Birth / Speed / Merging, a trio of albums produced without any label backing or distribution between 1972 and 1976. Their music is unique among the varied canon of avant-garde and experimental music of 1970s America: high intensity African-styled percussion topped with songs, chants, and horns, laced with African instruments and arranged into long, flowing suites that surge and

Tripped has been producing hard Industrial electronic music for over 17 years. Releasing a ton of quality EPs and 12" records ranging from full force terror to slow industrial techno. Always pushing forward perfecting his unique signature sound no matter what style or BPM range.

Now after 17 years we are super excited to be able to present his first ever full length album, on PRSPCT recordings.

Unboxed by Tripped is a 3 x 12" vinyl album consisting of 13 tracks that take the listener on one giant musical journey passing all corners of the Tripped galaxy.

From experimental noisy industrial tracks like "Pain" & "909". To speeding up the pace on a track like "Fartbox" while throwing in some heavy pounding schranz on "Shinyuku Heat".

Bringing back the oldschool vibes on "Misfits" together with ISR legend Lenny Dee and than going full force hardcore/breakcore war mode on "Kapsalon".

This album just keeps the listener moving, never a dull moment, pure adrenaline & excitement.

Here at PRSPCT we gave Unboxed by Tripped a 5 star rating on Yelp. It's simply that F-ing good!

Now go buy the record or spend the rest of your life full of regret.. Trust us.. You don't want that..

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

Germany exclusive edition on White & Blue Galaxy Vinyl. Sacred Bones celebrates its 15th year label anniversary with this repress of the haunting and monolithic May Our Chambers Be Full. "The juxtaposition of Rundle's long distance melodies and Bryan Funck of Thou dredging up his guts to scream into the sky shows two sides working together to create something surprising and new." - The Fader // "The whole LP would be a great release for either artist, but it's the brilliant convergence of sensibilities that sets it apart in the landscape of alternative metal... an excellent entry point for any would-be Thou fans, and a potential game-changer for Rundle ones." - Loud & Quiet

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

The concert by Paolo Conte in the heart of the Reggia di Venaria Reale, produced by Milo Fantini and RitaAllevato (who also takes care of the artistic direction) for ConcertoSrl and broadcast in exclusive streaming on ItsART on September 30th, will relive in a special limited edition.

In fact, on 12th November "Live at Venaria Reale" (Concerto srl / Platinum srl / BMG Rights Management Italy srl) comes out in a Box Limited Edition and double Lp. An album full of precious contents: double vinyl, cd, 7 '' vinyl, which contains the unreleased El Greco and the song AMinestrina feat. Mina, a copy of the score for Via con me and an original signed and numbered print by the artist.

During the show, Conte's charm and unmistakable timbre were accompanied by an orchestral ensemble of eleven musicians fromexception: Nunzio Barbieri (Guitars), Lucio Caliendo (Oboe, Bassoon), Claudio Chiara (Alto Sax, Flute, Accordion, Keyboards), Daniele Dall'Omo (Guitars), Daniele Di Gregorio (Drums, Percussion, Marimba), Luca Enipeo ( Guitars), Francesca Gosio (Cello), Massimo Pitzianti (Accordion, Bandoneon, Baritone Sax, Piano, Keyboards), Piergiorgio Rosso (Violin), Pierre Steve Jino Touche (Double Bass), Luca Velotti (Soprano Sax, Tenor Sax, Flute, Clarinet ).

In addition to the unpublished El Greco, the tracklist also contains the most beloved songs of the singer-songwriter: "Hemingway", "Sotto lestelle del jazz", "Come Di", "Alle prese con una verde milonga", "Aguaplano", " Max "," Gambling "," Dancing "," Madeleine "," Genoa for us ","Via con me "," Reveries "," The raincoats "," Le chic et le charm ", in which finished loves, nostalgia and exotic atmospheres parade.

Das teuflische Meisterwerk aus dem Jahr 2015 wird in limitierter Auflage auf transparentem orange/schwarz marmoriertem Vinyl neu aufgelegt!



"Instinctus Bestialis", das zehnte Studioalbum der Black Metal-Ikonen GORGOROTH, wurde von Schlagzeuger Thomas Asklund im Monolith Studio aufgenommen und abgemischt, von Infernus & Asklund produziert und von M. Lindfors, Infernus und Asklund im Cutting Room / Schweden gemastert.

Es enthält Gastauftritte an der Leadgitarre von Chris Cannella, Fabio Sperandio und Henrik Ekeroth, während das Aufnahme-Line-up aus Infernus, Asklund (ex-DISSECTION), Bøddel (Frank Watkins, ex-OBITUARY) und Atterigner besteht.

15TH ANNIVERSARY LIMITED EDITION

When we started our family group, The Staple Singers, we started out mostly singing in churches in the south. Pops saw Dr. Martin Luther King speak in 1963 and from there we started to broaden our musical vision beyond just gospel songs. Pops told us, "I like this man. I like his message. and if he can preach it, we can sing it" So we started to write "Freedom Songs," like "Why Am I Treated So Bad," "When Will We Be Paid For The Work We've Done," "Long Walk To DC," and many others. Like many in the civil rights movement, we drew on the spirituality and the strength from the church to help gain social justice and try to achieve equal rights. We became a major voice for the civil rights movement and hopefully helped to make a difference in this country. It was a difficult and dangerous time (in 1965 we spent a night in jail in West Memphis, Arkansas and I wondered if we'd ever make it out alive) but we felt we needed to stand up and be heard. So for us, and for many in the civil rights movement, we looked to the church for inner strength and to help make positive changes. And that seems to be missing today. Here it is, 2007, and there are still so many problems and social injustices in the world. Well, I tell you we need a change now more than ever, and I'm turning to the church again for strength. With this record, I hope to get across the same feeling, the same spirit and the same message as we did with the Staple Singers and to hopefully continue to make positive changes. We've got to keep pushing to make the world a better place. Things are better but we're not where we need to be and we'll never turn back. 99 and 1/2 just won't do! - Mavis