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After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.

If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.

There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.

Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?

SSoundway Records reissues a limited 1000 copy run of Nenad Jelic and Laza Ristovski"s seminal new age album Opera from 1986. Combining percussion-laden rhythms with synthesisers, vocal samples, and at times unexpected acoustic instruments, the album became a cult classic amongst fans of fourth world and avant garde music. Nenad Jelic is one of the most original artists to appear on the Serbian music scene, a percussionist obsessed with melody and silence, a multidisciplinary instrumentalist. A member of the line-up of musicians which released the cult album Balkan Impressions, he was one of the originators of the World Music movement in Serbia.

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

Green Marbled Vinyl


Following up to his maiden transmission for the label, "Cosmic Silence", issued a year ago, Italian producer Alessandro Cozzolino AKA Cioz resurfaces on Stil vor Talent with his longed-for debut album "Supermassive Whole" - a ten-track cosmic odyssey in sound percolating staple elements of Cioz's palette of choice, from otherworldly techno to Latin-inflected house, via the obvious injection of kosmische and electronica soundscaping.

The lead single "Wachaka" - recorded in collaboration with Cape Town producer Ryan Murgatroyd, exemplifies Cozzolino's electrifying approach to a T. An inch-perfectly balanced mix of Afro-infused polyrhythmic bravura and seesawing synth moves, the track swells with a blazing fire at heart that keeps on sprawling infectiously with each and every bar. Trading the linear buildup for most sensuous levels of syncopation, "Me Monkey" serves up a warmer kind of funk, perfect for getting snug and cozy before an avalanche of seesawing chords up the ante towards space-opera-esque amplitude. All in elusive sinuosity and processed machine talk, "Harakat" dwells the confines of wonky house templates and polyamorous EBM, while "I Always Wanted To..." goes the slo-burning, counterclockwise route, primed for languid moments in the alcove.

"B1" is perhaps the most spitting avatar of the Italian whiz's hybrid rolling-and-pounding rhythmic style, nicely embodying both its quirky, hip-swaying and fanfare-like percussive aspects. The ecstatically bouncy "Do It The Way You Feel" showcases Cioz's more rousing, floor-friendly facet with a killer combo of hi-octane electro dynamics, pop-rock motif'd hooks and slashing breaks taking the controls. The mood also happens to be melancholic at times, such as on the beautifully understated "Is This Real", which bridges the gap betwixt piano-house déjà-vu - here tweaked to distinctively soul-wrenching effect, and a prog buildup glossed under a thick sauce of FX, similar to that of "Sudpol Birgit"'s inflating saturation in the post-prod treatment. Somewhat brushed with balearic shades in mind, "Pace e Amore" follows a more classic curve, slowly veering off onto ambient-laced territories, while "Lost in Space" evokes a certain idea of gravity-defying plenitude through that ever intuitive and subtly arranged collage of tender wistfulness and endless attraction towards the groove, which defines Cozzolino's phraseology so fittingly.

Remastered reissue of “We Are Urusei Yatsura” (originally released in 1996), with bonus vinyl of unreleased demos and B-sides

Celebrating the 30th Anniversary of the founding of Glasgow “Geek Rock” band Urusei Yatsura
– Double Clear-Vinyl Reissue of 1996 Album
In the days before “landfill” indie, and in rebellion against a developing Britpop orthodoxy, there were some weird but melodic bands coming of age outside London that drew inspiration from the US underground and the sparkly retro-futurism of Japan. Primitive guitar noise with art rock leanings, post punk DIY and fanzine culture. The best known of these bands was maybe Urusei Yatsura; “noisy stars”, named in honour of Rumiko Takahashi, legendary manga creator.

Back in 1996, after several increasingly well-received 7’s, the band travelled to Leamington Spa to record their debut album with John Rivers, producer of Swell Maps and Glasgow scene godparents, The Pastels. The resulting album won the group legions of new fans and gained them their first Independent #1 chart placing, alongside peers Ash and Super Furry Animals.

“These were fertile years in Glasgow, a scene with no name, no single sound, where the magic thread tying everyone together was words and works so personal, they couldn’t be mistaken for anyone else’s. ‘We Are Urusei Yatsura’ is a cascade of ‘why not?’ thinking. The way ‘Phasers on Stun’ spirals into ‘Sola Kola’; the sunburned 23-second improv at the end of ‘Pachinko’; the slack-echoing strings of the outro to ‘Road Song’ sprayed with the shrapnel of toy electronics. Pure pop magic, Ren & Stimpy on upstairs, ray-guns, Ian’s homemade walkie-talkie speaker, a beatbox, all sealed with a “Talking Tina” doll’s emphatic endorsement: “I love it”” – Nick Soulsby

The vinyl-only double LP set comprises the original 1996 album recorded by John Rivers, accompanied with an extra disk of unreleased demos, rare singles and B-sides which have not been available since the 90’s. It documents the time leading up to the release of the LP and the singles that came from it, capturing the development, lost pop moments and essential experiments from the eccentric and joyful Glasgow band. The cover has been completely remixed using archive
photos and artwork from the time, with new interviews and extensive notes. The release marks 30 years since the official birthday of the band, 9/3/93.

“When I drove the transit van that took them down to Leamington Spa to record their first proper LP, there was a sense of quiet, assured anticipation. I couldn’t wait to hear it and when I came back a couple of weeks later to pick them back up, I remember so clearly when they played it from the van’s tape deck. Fergus and Graham were hunched over, focusing intently on what they wanted to change about the mix. The reverb wasn’t right or something. Maybe they didn’t like how high the vocals were in the mix. I said to them, you’re listening to the details, but missing what is most important–this is a fantastic record! It was. It is. It is a fantastic record. They were a brilliant live band and I am so lucky to have been able to have been there to see their formation.” – Alex Kapranos.

British producer Burland and Ghanaian vocalist Zongo Abongo join forces here for UK to GH, a new collaboration that collides the respective backgrounds of each artist. Reggae, highlife, dancehall, UK bass and rave all meet in a world of fresh rhythm and melodic invention. 'Telephone No Wire' opens with a feel-good highlife sound on a 2-step beat with vocalist Adotey Johnson in fine form. 'Nyura' heads to the club with weighty bottom ends and enchanting melodies then things get darker on the flip with 'Try To Test' exploring another take on 2-step with hints of UKG and grime overlaid with catchy vocal hooks. 'Last Chance' pairs dancehall vocals with downtempo breaks for a superb conclusion.

“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” - Ed Pinsent, The Sound Projector.

“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

David Cunningham was born in Ireland in 1954. His work ranges from pop music to gallery installations including several collaborations with visual artists. His first significant commercial success came with The Flying Lizards' single "Money," an international hit in 1979.

Originally released in 1976, Cunningham's first solo album Grey Scale has become a landmark statement of DIY minimalist composition – continuing in the vein of the wild explosion of arthouse experimentation from the early '70s. Cunningham, then a student at the Maidstone College of Art in Kent, drafted fellow student non-musicians and (using whatever instruments available) crafted an endlessly shifting sonic palette with an improvisor's keen sensitivity to space, texture and tone.

As Cunningham states in the liner notes, his approach was to "pursue something (which may appear trivial or meaningless) so rigorously or relentlessly to the point that it reveals something new."

Cunningham was influenced by live performances he was attending at the time by English composers Cornelius Cardew, Gavin Bryars and Michael Nyman as well as free improvisors Evan Parker, Derek Bailey, David Toop and Paul Burwell.

The inaugural release on Cunningham's own Piano label, Grey Scale was indeed "something new" in 1976. The artist quickly integrated his experimental sensibilities to produce art-rock pioneers This Heat, whose debut appeared on Piano in 1979. His popular success performing as The Flying Lizards (with two electro-punk albums on Virgin during the New Wave era) was presaged by this seminal work of fascinating sound collage and tonal freedom. First-time reissue.

Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott

Dial 303! The new and hopefully also durable sampler series on Running Back is here.

Dedicated to the twang of Roland’s silver baseline box with a varied string of artists: DVS1, Marko East & Jordi Chu (whose collaboration sparked the idea of a whole series), Like A Tim via Prins Thomas, Katerina and I:Cube.

The Parisian put it in a nutshell, too: „Although rinsed to death to the point of becoming a parody of itself, acid will last forever.“ Therefore, his Folie Noire is combining the original recipes with hypnotic European influences, while Marko and Jordi present a rough and direct 303-909 live jam, Prins Thomas puts his wickedest smile on Like A Tim’s Wonderline from 2005 and Katerina sets a lucid dream to sanguine music.

Finally, there is a rare and much desired musical outing by the unique DVS1. A direct ode to Chicago’s acid and beatdown styles and its Midwest companions, it is a heads-down-lights-down late night track made for driving up and down Lower Wacker Drive. Trippy trip artwork by the inimitable Gasius.

Trivia: If the piano is the bread of house music, the acid line is its butter!

PLAY DEAD release a career-spanning anthology, a CD digipak with sixteen of their most essential tracks (also as a ten-track limited-edition blue vinyl LP). Between 1980-1985 they grew into one of the UK"s leading post-punk bands with regular indie chart hits and a large loyal live following. They built up through exposure from three John Peel sessions, extensive gigging (with UK Decay, Sex Gang Children, Killing Joke, The Cult and more), subsequently headlining UK and EU tours in their own right and landing a live spot on the UK"s top music TV programme, The Tube. On various labels they issued a series of singles and three studio albums: The First Flower, From the Promised Land and Company of Justice, the latter produced by Conny Plank. This album is collected from all of those releases.

Limited Purple, Orange & Light Blue Vinyl 2xLPGrowing up in Atlanta, artist/producer Sol Messiah was always inundated with the rich and energizing spirit of Hip Hop culture. From breakdancing at a young age, to mastering the skill of DJing, to learning the art of production, Sol Messiah's talent and hunger eventually led to working alongside legendary Atlanta producer, Dallas Austin. While Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently, producing a catalog of popular tracks with Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. He also began a fruitful partnership with a fierce lyricist named Sa-Roc, producing numerous projects together including her groundbreaking 2020 album, The Sharecropper's Daughter. In 2022, Sol Messiah delivered his Rhymesayers debut, GOD CMPLX, where he connected with some of the finest MCs in the game to create a powerful and engaging collection of Hip Hop that was equal parts innovative and inspiring. Here, he returns with the GOD CMPLX Instrumentals, letting this impressive collection of beats stand on their own as further testament to his skills as a producer, as well as a visionary.

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.
Der Pianist und Komponist Andrew Hill gehörte in den 1960er Jahren zu den visionärsten Musikern im Blue-Note-Stall. Tatsächlich waren einige der 12 Alben, die er zwischen ’63 und ’70 für das Label einspielte, ihrer Zeit so weit voraus, dass sie erst Jahrzehnte später veröffentlicht wurden.

So wie das brillante Album “Dance With Death”, das 1968 entstanden war, aber erst 1980 das Licht der Welt erblickte. Zu hören ist Hill hier mit sechs höchst orginellen Eigenkompositionen zwischen Post-Bop, modalem Jazz und Avantgarde.
Exzellente Unterstützung erhielt er bei der Einspielung von gleichgesinnten Modernisten wie Trompeter Charles Tolliver, Saxophonist Joe Farrell, Bassist Victor Sproles und Drummer Bill Higgins.

24 Jahre jung war der Trompeter Carmell Jones, als er 1960 von seiner Geburtsstadt Kansas City nach Los Angeles ging. Schon kurz nach seiner Ankunft erhielt der vielversprechende Youngster, den manche
mit Clifford Brown verglichen, dort einen Plattenvertrag bei Pacific Jazz.

1961 konnte er für das Label sein phänomenales Debüt “The Remarkable Carmell Jones” aufnehmen. Im Zusammenspiel mit Tenorsaxophonist Harold Land, Pianist Frank Strazzeri, Bassist Gary Peacock und Schlagzeuger Leon Pettis präsentierte er auf dem Album eine hochinteressante Mischung aus Cool Jazz und Hardbop.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.


Der Pianist und Komponist Andrew Hill gehörte in den 1960er Jahren zu den visionärsten Musikern im Blue-Note-Stall. Tatsächlich waren einige der 12 Alben, die er zwischen ’63 und ’70 für das Label einspielte, ihrer Zeit so weit voraus, dass sie erst Jahrzehnte später veröffentlicht wurden.

So wie das brillante Album “Dance With Death”, das 1968 entstanden war, aber erst 1980 das Licht der Welt erblickte. Zu hören ist Hill hier mit sechs höchst orginellen Eigenkompositionen zwischen Post-Bop, modalem Jazz und Avantgarde.
Exzellente Unterstützung erhielt er bei der Einspielung von gleichgesinnten Modernisten wie Trompeter Charles Tolliver, Saxophonist Joe Farrell, Bassist Victor Sproles und Drummer Bill Higgins.

24 Jahre jung war der Trompeter Carmell Jones, als er 1960 von seiner Geburtsstadt Kansas City nach Los Angeles ging. Schon kurz nach seiner Ankunft erhielt der vielversprechende Youngster, den manche
mit Clifford Brown verglichen, dort einen Plattenvertrag bei Pacific Jazz.

1961 konnte er für das Label sein phänomenales Debüt “The Remarkable Carmell Jones” aufnehmen. Im Zusammenspiel mit Tenorsaxophonist Harold Land, Pianist Frank Strazzeri, Bassist Gary Peacock und Schlagzeuger Leon Pettis präsentierte er auf dem Album eine hochinteressante Mischung aus Cool Jazz und Hardbop.

Sie sind die nächste Dimension der deutschen Rockmusik: Unter dem Namen UNIVERSUM25 hat sich mit Members von In Extremo, Eisbrecher, Fiddler‘s Green, Dritte Wahl und Slime eine ganz neue Formation zusammengefunden, um die apathische Menschheit mit ihrem kompromisslosen Hybridmix aus ElectroMetal und Punk-Rock aus dem Dämmerschlaf zu reißen.

Mit der packenden Coverversion des Ton Steine Scherben-Kultsongs „Der Traum ist aus“ legt die hochkarätige Allstarband nun ihre erste Single vor!

Harte Rockgitarren, atmosphärische Electronica und schonungslos offene Klartext-Lyrics, die den Finger in die Wunden eines Planeten am Rande der Selbstzerstörung legen: So klingt der dystopisch-faszinierende Soundkosmos von UNIVERSUM25. Hinter dem mysteriösen Namen verbergen sich niemand Geringere als Michael Robert Rhein (In Extremo), Rupert Keplinger (Eisbrecher, Antitype), Patrick „Pat“ Prziwara (Fiddler’s Green), Gunnar Schroeder (Dritte Wahl), Alex Schwers (Slime), sowie der renommierte Producer
Jörg Umbreit - gemeinsam hält die Formation der Welt mit ihrem wütenden Crossover aus Metal, Rock und Electronica einen Spiegel vor.

Bislang gab Blue-Note-Schlagzeuger Kendrick Scott in seiner Band Oracle den Ton an. Jetzt hat er sie zu einem schlagkräftigen Trio geschrumpft!

“Kendrick Scott ist zum Art Blakey, Elvin Jones und Tony Williams seiner Generation geworden”, hat Trompeter Terence Blanchard einmal gesagt, in dessen Band der Schlagzeuger lange spielte. “Er ist ein brillanter Kopf, der nicht nur die Musik erneuert, sondern in seiner Band auch jungen Talenten Gelegenheit gibt, sich zu entwickeln und zu wachsen.”

Mit der Band Oracle hat Kendrick Scott bislang zwei Blue-Note-Alben eingespielt, “We Are The Drum” (2015) und “A Wall Becomes A Bridge” (2019).
Mit dem dritten Werk “Corridors“ geht der in Houston
geborene Schlagzeuger und Komponist einen neuen Weg, indem er erstmals auf die beiden melodieprägenden Instrumente Piano und Gitarre verzichtet und allein auf ein Trio mit Saxofonist Walter Smith III und Bassist Reuben Rogers setzt.

Der kanadische Sänger und Songwriter Chiiild veröffentlicht am 03.03.23 sein zweites Album „Better Luck In The Next Life“.

Mit seinem genre-übergreifenden Mix aus Pop, RnB, Soul und Jazz gilt Chiild als einer der aktuell spannendsten kanadischen Künstler. 2020 veröffentlichte Yonatan Ayal aka Chiiild seine von Kritikern gefeierte
Debüt EP „Synthetic Soul“.
Das Jahr darauf erschien sein Debütalbum „Hope For Sale“, welches als „Alternative Album Of The Year“ bei den kanadischen JUNO Awards nominiert wurde. Zu seinem neuen Album sagt Chiild: „My aim with ’Better Luck In The Next Life’ is to give you a look inside my mind.
Into the doubts & fears, ambitions, and a few connections along the way. It was a form of healing putting these real situations into songs. When everybody is out here on the same thing, we’re just out here levitating.”

„Better Luck In The Next Life“ enthält 12 Tracks, erscheint digital und auf Vinyl und enthält Features von u.a. Lucky Daye und Charlotte Cardin.

Infernal Sounds return with their DIGIV series and with this instalment they focus on the catalogue #005 - 008. Hypho, Abstrakt Sonance and the vocal wizardry of Rakjay kick off the release in fine style, hitting you with the rough and tough VIP sounds of 'Take It Or Leave It', before the release takes a more surreal and somber twist with one of the standout tracks from the DIGI series from last year, 'How Do You Know' by Darkimh. 'Lighthouse' by Sordez provides you with a slice of 2-step, shaken with garage flavours and a pallet of punchy flavours. Substrada rounds things off with the rambunctious 'Daka' - a track that's been battering dancefloors for the past year, giving you the perfect balance of bassweight and percussive notes.

As Deutsche Grammophon celebrates its 125th birthday this year 2023, the Yellow Label marks the occasion by releasing a selection of vinyl LPs for the first time ever.
“Beauty will save the world,” wrote Dostoyevsky, which is the claim that Camille Thomas makes throughout this record. Not beauty for the sake of hedonism, but a beauty that believes there is a burning line to be drawn between pain and hope. Camille Thomas' new album illustrates this, structured like an archipelago surrounding the Cello Concerto composed by Fazil Say. Camille Thomas gave its premiere in 2018, and her album spanning the work of ten composers, allows us to travel the path from pain to hope. On the threshold, we meet three pieces: the heart-rending melody of the Kaddisch by Ravel, a sublimation of the Jewish prayer for the dead; the lamentation from Purcell’s Dido, quasi a lullaby from the queen who awaits her death, in a nakedness without pathos; and between those two works, the tender Dance of the Blessed Spirits from Gluck’s Orfeo, in which we hear the first signals of hope. The album is available today for pre-order and is accompanied by the pre-release track of Gluck’s Dance of the Blessed Spirits from his opera Orfeo ed Euridice.

Multiple Grammy winner Composer, Arranger Conductor Vincent Mendoza has 35 Grammy Nominations across his storied career, including his sixth Grammy for his last Album Freedom Over Everything. For his forthcoming offering Olympians Mendoza is joined by Metropole Orkest, which he has led as chief conductor for the past six years. It is a bright, zingy and as the title suggests, triumphant record to add to Mendoza’s outstanding career.
Mendoza has written arrangements for a wide variety of pop and jazz artists
From Joni Mitchell, Sting, Melody Gardot, Elvis Costello and Bjork to Joe Zawinul, John Scofield and Randy Brecker.

In Zusammenarbeit mit dem Indie-Game-Publisher Fabraz (u.a. Slime-san und Demon Turf) veröffentlicht Black Screen Records den gruselig-schönen Soundtrack zum Action-RPG Skellboy von Björn Schellin auf Vinyl. Der Soundtrack erscheint als limitierte Doppel-LP auf marmoriertem Skelett-farbenem Vinyl. Das Artwork des Gatefold Sleeves stammt von der Designerin @sabbi_tabbi von Umaiki Games.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions French RARE GROOVE This "French Rare Groove" volume offers us a oneâÇ`way ticket to France from the late 60"s to the early 80"s. From confidential releases to forgotten movie soundtracks, discover the grooviest tracks from the french scene. Have a good trip!

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Repress!

“This album has been built, robbed, destroyed, rebuilt, held up, postponed, cancelled, shelved, bootlegged, analyzed, exploited, slept on, supported, patiently awaited, and appreciated, long before you got your hands on this slim neat little package.

This collection of thoughts, songs and relationships has literally been on the verge of completion since 1997. It was intended to finally be released in 1999. Most of the songs were written between 1995 and 1998. However, from the first to last verse, it reaches as far back as 1988 and stretches forward up to 2001. Throughout this tedious, relatively arduous process, the people involved in this project have successfully delivered the intended message that was conceived, forged, and galvanized through its delivery. The understanding is the best part. Enjoy!”

Originally intended for release in 1999, The Best Part was shelved multiple times due to label politics, until it was finally released in 2001, as J-Live points out in his prologue above. Now it’s getting the much deserved re-issue treatment.

With an All-Star production team featuring Pete Rock, Prince Paul, DJ Premier, DJ Spinna, 88 Keys & Grap Luva, along with J’s crafted and precise lyricism, this is one not to miss!

Die Single ”Calm Down” war auf Platz 1 der Schweizer Single Hitparade und sogar für über 100 Tage auf Platz 1 bei Shazam. Die Single hat in der Schweiz Multiplatin Status. Ausserdem hat der Song ”Soundgasm”, ebenfalls aus diesem Album, Doppel Platin Status.
Das musikalische Wunderkind Rema veröffentlicht sein mit Spannung erwartetes Debütalbum ”Rave & Roses”.

Drei Jahre nachdem Rema von Mavin Records-Gründer Don Jazzy der Welt vorgestellt wurde, hat der aus Benin City stammende Musiker mehr erreicht, als man sich je hätte träumen lassen.
Als der wohl größte und international bekannteste Vertreter aufstrebender Afrobeat-Stars, tritt Rema mit seinem kommenden Album ”Rave & Roses” in eine neue Phase seines Lebens ein.

Dabei ist der als Divine Ikubor in Nigeria geborene Sänger bereits ein Popstar, der mit seinem Debütalbum beweisen will, warum der Hype um ihn von ganzem Herzen verdient ist. ”

Manchen mag Remas Erfolg erscheinen, als sei er über Nacht gekommen. Doch zwischen seinen Anfängen im Chor bis zu dem Moment, als Barack Obama ihn seiner ”Summer 2019”-Playlist hinzufügte und Drake ihn begeistert ins Studio einlud, lag viel Arbeit, die auch über die Musik hinausgeht.

After an interminable wait due to the vinyl manufacture crisis, Mercury 200 is back stronger than ever, supplying some homegrown material that is conceivably as potent as GOTG001. This time they teamed up with 2 legendary OG's, Apoc Krysis & MCR-T, to spice up your musical experience and bring you the best of the two worlds. Dealing at the intersection of breakbeat, Ghetto tech and trance, this record will definitely catch your attention. Parental Advisory Explicit Content. Legally available only on prescription.

For the first track of the vinyl, they teamed up with the Atlanta based rapper Apoc Krysis to blend two opposite genres in a Memphis rap infused techno banger. This unique collaboration put on the table whats the both side has the best to offer: powerful and lethal flow. This track is here to pick you up and put you back on your feet after a breakup. When nobody's there for you, this track is.

Full of fast and filthy grooves "Caramelo" is the track that will make you sweat. A heavy stomping beat with devilish vocals ready to make your ghetto inner self dance. Heavy grooves and a powerful bassline this track will slap you into consciousness. 100% Floor impact guaranteed.

On the flip side we start with an outstanding collaboration with Berlin most notorious player in the ghetto house-techno scene: MCR-T. An uplifting, instant serotonin booster.

Building up the tension at the start with a breakbeat and OG (original gangsta) lyrics, the tracks eventually turns into four to the floor house infused groove. Party killer guaranteed!

Last track but not the least consists in a classic mercury 200 signature breakbeat track. A fine blend of trancy and infectious melodies with a short rap hook and chest punching drums.

Beth Hart hat schon fast alles erlebt. Sie hat die Süße des Erfolgs gekostet, die Spitze der Billboard-Charts erreicht und sich an eine Flasche geklammert, die in der Gosse lag. Sie ist von ihrem eigenen Verstand betrogen worden und sie hat das Glück des geistigen Gleichgewichts gespürt. Das heißt, für eine gewisse Zeit.
Auf My California geht es um Geschichten aus dem Leben. Beths Leben. In "Sister Heroine" geht es um den Verlust ihrer Schwester Sharon. Es geht darum, als Familie zusammenzukommen und sich schuldig zu fühlen, wenn man über die guten alten Zeiten spricht, wenn jemand fehlt, und sogar Schuldgefühle zu haben, wenn man Freude empfindet oder lacht. Like You and Everyone Else" handelt von der Schwierigkeit, mit dem Leben umzugehen, wenn das chemische Gleichgewicht des Gehirns einen immer wieder von einem Extrem ins nächste schickt. Es geht um den Wunsch, so zu sein wie alle anderen, um Zugehörigkeit und schließlich darum, sich mit der Tatsache abzufinden, dass jeder irgendwo in seinem Leben anders ist.
Es besteht kein Zweifel, dass Beth Hart und Rune Westberg mit My California etwas ganz Besonderes gefunden haben.

Beth Hart - My California ist jetzt wieder auf Vinyl erhältlich und zum ersten Mal auf Transparent Red Vinyl. Limitiert auf 2000 Exemplare weltweit!

WITCH RIPPER haben eine liebevolle Hommage an die legendären Pulp-Science-Fiction-Storys aus der "Goldenen Zeit" des Genres erschaffen. Auf ihrem zweiten Album "The Flight After the Fall" erzählen die Amerikaner eine durchgehende Geschichte, die aus all den schmackhaften Zutaten besteht: Ein verrückter Professor, seine sterbende Frau, Kryo-Kammern und ein Schwarzes Loch dürfen dabei nicht fehlen. Garniert wird das Konzert von universell wichtigen Themen wie Liebe, Angst, Verlust und Akzeptanz. Musikalisch haben WITCH RIPPER ebenfalls das passende Rezept für "The Flight After the Fall" gefunden. Das Album steckt nicht nur erwartungsgemäß voller Vorwärtsdrang und ungezähmter Energie, sondern es finden sich ebenso flinke wie vertrackte Gitarren-Attacken, ein subtiler Hauch von Synthesizer-Sounds und kosmischer Atmosphäre sowie unverschämt eingängige Clean-Vocal-Hooks. Kurz gesagt, WITCH RIPPER bleiben ihren knorrigen Wurzeln treu, während sie sich gleichzeitig den Arena-Rock-Bombast von QUEEN und DAVID BOWIE sowie den überschwänglichen modernen Prog von COHEED AND CAMBRIA und MUSE zu eigen machen. Geboren und aufgewachsen in der Stadt des grauen Himmels und der lauten Musik, Seattle im Jahr 2012, haben WITCH RIPPER aus Washington von Anfang an die zeitgenössische Härte von Acts wie MASTODON, GOJIRA und BARONESS nahtlos mit der hymnischen Qualität des klassischen Rock verschweißt. WITCH RIPPER gehen ihre Musik auf typisch amerikanische Weise an: Fette Riffs, große Hooks und verdammt sei dieser Schlagzeuger! Mit "The Flight After the Fall" meldet sich die Heavy-Truppe aus Seattle mit einem kühnen musikalischen Statement in der US-Metal-Szene zurück.

2018 war ein außergewöhnliches Jahr für Beth Hart. Sie spielte die größten Headline-Shows ihrer bisherigen Karriere, unter anderem vor 12.000 kreischenden Fans im Ziggo Dome in Amsterdam, einer ausverkauften Royal Albert Hall in London und ihrer ersten Solo-Tournee in den USA, die komplett ausverkauft war. Von diesem Erfolg beflügelt, meldet sie sich nun mit ihrem brandneuen Studioalbum War In My Mind zurück, bei dem sie mit Rob Cavallo (Dave Matthews Band, Phil Collins, Green Day, etc.) zusammengearbeitet hat. Auf dem Album zeigt sich Beth Hart von ihrer leidenschaftlichsten und gefühlvollsten Seite und sie plant größere Shows und Festivals als je zuvor.
Beth Hart - War In My Mind ist jetzt wieder auf Vinyl erhältlich und zum ersten Mal auf Purple Vinyl. Limitiert auf 3000 Exemplare weltweit!

Das Emil Brandqvist Trio ist mittlerweile eine feste Größe im europäischen Jazz Circuit und erfreut sich mit jedem Album größerer Popularität, bis auf Position 3 führte zum Beispiel die Reise in den deutschen Jazz Charts. Traumwandlerisch bewegen sich der Göteborger Schlagzeuger und Komponist Emil Brandqvist und seine seit sechs Alben konstanten Trio Partner Max Thornberg am Kontrabass und Tuomas A.Turunen am Piano durch ebenso poetische wie bildhafte Soundwelten, man kann mit Fug und Recht konstatieren, dass dieses Trio zu den wenigen in Europa gehört, die einen ganz eigenen und vom Publikum euphorisch gefeierten Sound gefunden haben.
Das neue Album "Layers Of Life" gerät zweifellos zum Höhepunkt ihres bisherigen Schaffens. Gleich dreizehn neue Songs aus der Feder von Emil Brandqvist überzeugen mit filigranen, hochkomplexen und doch so eingängig daherkommenden Arrangements, bei einem der zentralen Stücke des Albums, "Solitude" war als Co-Autor auch der finnische Pianist Tuomas A. Turunen beteiligt. Schon eine gute Tradition ist es, dass Brandqvist auch das Sjöströmska String Quartet für einige Songs ins Studio gebeten hat, um das Trio Format zu einem Breitwandsound zu erweitern. Daneben sind auch Maija Kauhanen (Kantele,Voice und Harmonium) und sein Bruder Martin Brandqvist, der punktuell mit Flöte, Klarinette und Bass Klarinette ergänzt, zur Verfeinerung der Klangwelten eingeladen worden. Emil Brandqvist selbst lässt es sich nicht nehmen, besondere Akzente durch die Verwendung eines Moog Synthesizers zu setzen.
Erstmals werden sämtliche Songs spielzeitbedingt auch auf einer Doppel - LP erscheinen und so die komplette musikalische Reise auf 180g Vinyl abbilden. Das Emil Brandqvist Trio wird im April / Mai und dann auch nochmal in Oktober / November für Konzerte durch Europa reisen.

Nach dem Erfolg ihres atemberaubenden Debütalbums 'Lonely World' (2019), das Melodie und Melancholie umwerfend schön und effektiv vereinte, veröffentlicht die britische Post-Hardcore-Band Acres nun den Nachfolger 'Burning Throne', eine erdrückende, kathartische und perfekt ausgearbeitete Reflektion und Sinnfindung nach der erzwungenen Pandemie-Pause. Es ist nicht nur das bisher härteste Material der Band, sondern auch ihr ergreifendstes und ehrlichstes. Ein Werk, in das die Band jedes Quäntchen ihrer Seele hineingesteckt hat.

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

Ravenstine wurde von Martin Sosna in Zeiten der weltweiten Pandemie mit seinem langjährigen Freund John A.B.C. Smith von God's Army und ihrem Freund Hanno Kerstan (Mystic Prophecy)
gegründet. Die selbstgepresste CD-Single "Ravenstine" wurde auf 500 Exemplare gepresst und war sofort ausverkauft. Ravenstine sind eine Gruppe von Freunden. Martin und John kennen sich seit mehr als 30 Jahren und Ian und Zak sind seit mehr als 20 Jahren mit ihnen befreundet. Auch Hanno ist ein sehr langjähriger Freund von Martin und John, auch wenn sie alle in verschiedenen Teilen Europas leben. Zuerst sang John auf den Tracks, weil es nicht einfach war, einen guten Sänger für eine Band zu finden. Eines Tages fragte Martin John, was mit Zanil Zak Tataji passiert sei und schon kurz darauf war mit an Bord. Ravenstine sind eine Band mit 4 Sängern (John, Ian, Zak und Martin) mit Zak in der Hauptrolle. Er hat die perfekte Stimme für die Ravenstine Songs und Ideen.Mit Gastauftrit von Frank Blackfire (Sodom). Ravenstine sind Heavy Steam Rock mit Einflüssen von ua. Def Leppard und AC DC. Ihre Releaseshow wird im Oberhausener Kulttempel stattfinden und sie sind auch für das Baltic Open Air in Norddeutschland gebucht.

Ravenstine wurde von Martin Sosna in Zeiten der weltweiten Pandemie mit seinem langjährigen Freund John A.B.C. Smith von God's Army und ihrem Freund Hanno Kerstan (Mystic Prophecy)
gegründet. Die selbstgepresste CD-Single "Ravenstine" wurde auf 500 Exemplare gepresst und war sofort ausverkauft. Ravenstine sind eine Gruppe von Freunden. Martin und John kennen sich seit mehr als 30 Jahren und Ian und Zak sind seit mehr als 20 Jahren mit ihnen befreundet. Auch Hanno ist ein sehr langjähriger Freund von Martin und John, auch wenn sie alle in verschiedenen Teilen Europas leben. Zuerst sang John auf den Tracks, weil es nicht einfach war, einen guten Sänger für eine Band zu finden. Eines Tages fragte Martin John, was mit Zanil Zak Tataji passiert sei und schon kurz darauf war mit an Bord. Ravenstine sind eine Band mit 4 Sängern (John, Ian, Zak und Martin) mit Zak in der Hauptrolle. Er hat die perfekte Stimme für die Ravenstine Songs und Ideen.Mit Gastauftrit von Frank Blackfire (Sodom). Ravenstine sind Heavy Steam Rock mit Einflüssen von ua. Def Leppard und AC DC. Ihre Releaseshow wird im Oberhausener Kulttempel stattfinden und sie sind auch für das Baltic Open Air in Norddeutschland gebucht.

Live At Melkweg' wurde 2001 auf Tournee zum 'Dog In The Sand'-Album aufgenommen und fängt Frank Black And The Catholics auf dem Höhepunkt ihres Schaffens ein, während sich die Band durch eine umfangreiche Setlist spielt, die jedes Terrain von Frank Blacks riesigem Katalog streift. "Live At Melkweg" ist eine unverzichtbare Veröffentlichung für Frank Black-Fans und markiert die erste offizielle Veröffentlichung einer kompletten Catholics-Show. Diese neu erweiterte Ausgabe enthält den vollen 38-Song-Gig einschließlich 18 bisher unveröffentlichter Tracks.
Zu den Highlights gehören eine eindringliche Version von Pixies "Gouge Away", Frank Blacks Klassiker "Headache" und eine Auswahl aus dem Catholics-Repertoire, darunter "I Will Run After You" und "21 Reasons".
Neu gemastert von Thaddeus Moore bei Liquid Mastering, auf drei schwarzen 140 Gr. LPs gepresst, und in einem dreifachen Deluxe-Gatefold-Sleeve mit Spot-UV-Details untergebracht. Dazu gibt es bedruckte Inner Sleeves.

Macklemore veröffentlicht sein erstes Solo-Album seit
"GEMINI" 2017.
Einen kleinen Ausblick auf das am 03. März
erscheinende Album "BEN" gab der Rapper bereits mit
den Singleauskopplungen "CHANT", "MANIAC" und
"FAITHFUL", die in Zusammenarbeit mit Tones and I ,
Windser und NLE Choppa entstanden.
Im April ist der Rapper mit Verstärkung von Tones and I
und charlieonnafriday in Deutschland unterwegs.