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"Diré a mi gente" is a 1969 Colombian pop classic with one foot in protest song and the other in acid rock, harsh sounding but also current and sincere. The rawness of the lyrics, the simple and dynamic electrified instrumentation and the contrast with the sweetness and innocence of the adolescent vocals make it reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Los Yetis duet of Norman y Darío. First time vinyl reissue. Liner notes by Mexican DJ and collector Carlos Icaza aka Tropicaza (Dublab / Worldwide FM). "Diré a mi gente" is an essential Colombian album that connects the new generations that grew up after the fall of the socialist block. It's a classic with one foot in protest song and the other in acid rock, harsh sounding but also current, raw and sincere. It's reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Yetis duet of Norman y Darío. It was recorded by the brothers Ana y Jaime Valencia and originally released in 1969 on the local label Discos 15. The messages it conveys are still fresh and the blend of superb songs, arrangements and the candor of the duo's performance proves the relevance and importance of re-listening to this album in an increasingly nihilistic and depoliticized world. The teenage voices enhance the truthfulness and power of conviction of the classic songs of Alí Primera and Daniel Viglietti. The endearing song 'Cuántos momentos', originally recorded by Iván Darío López from Los Yetis-Norman y Darío, stands out on the album. 'Es largo el camino', with more stark lyrics by Nelson Osorio backed by Astudillo's screeching guitar, sends shivers down your spine. "Diré a mi gente" reaffirms that the transformative power of music is still there, latent, waiting to be unleashed. Even though the road traveled to get there is sometimes long.

After the well-earned Adarra prize awarded by San Sebastián city council in 2021, the name of Amaia Zubiria is back on people's lips, one of the most outstandingly beautiful voices in the history of folk and Basque music in general. In fact, thanks to the albums recorded with Haizea and with Txomin Artola and many other collaborations, she has been a constant presence in a long, fruitful career spanning over 40 years. However, despite this popularity, much of her extensive body of work is unknown or remains almost forgotten, apart from four or five records and her most popular songs. This is a shame, because her forgotten back catalogue contains many of Amaia's most moving songs. Among them, as a taster and an invitation to get into her music, we encourage you to listen to the enchanting "Itxasoan laino dago", recorded together with Pascal Gaigne in 1985. A track featuring the electronic sounds created with great care by Pascal and adorned by Michel Doneda's saxophone and guided with a magical sophistication by the talented sound engineer from Hendaye, Jean Phocas. It is an impossibly beautiful melt of avant garde and traditional music.

1972-1985 KATEBEGIAK - Prog-Rock, Psych-Folk & Jazz-Rock Music from the BASQUE COUNTRY. The album KATEBEGIAK, now published by ELKAR, contains 13 tunes on double LP gatefold edition from Haizea, Izukaitz, William S. Fischer, Magdalena, Enbor, Itoiz, Koska, Itziar, Errobi, Lisker, Amaia Zubiria & Pascal Gaigne, Gontzal Mendibil & Taldea and Urria, and the CD-Book edition adds an extra bonus track by the great unknown artist Juan Arkotxa. Complied by Mikel Unzurrunzaga Schmitz aka DJ Makala. Music produced in the 70's in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80's, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60's and 80's music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60's generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80's one on the other hand, worked in a flammable environment in constant social and political conflict and found in punk the perfect way to express their anger and weariness for so many unfulfilled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the "classic" names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70's generation and their music work somehow as the "missing link" ("katebegia" in Basque) between the two. They loved folky tunes and don't forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80's boys and girls found punk the 70's guys found a completely different sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong_ and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that's what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, DJ and producer of worldwide scope and wisdom, noticed this fact first and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music.

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

Your Old Droog has been releasing music at a remarkable pace lately, and he isn't showing any signs of slowing down, as the prolific Brooklyn emcee is back with the new album “YOD Wave”.

Featuring appearances by Mach-Hommy and Tha God Fahim, the collection is pure hip-hop euphoria, with Droog’s sophisticated rhymes levitating over soulful loops. “YOD Wave” is entirely produced by famed Montreal artist Nicholas Craven, who has worked with the likes of Roc Marciano, Westside Gunn, Conway, Boldy James, Styles P, and more.

Es gibt kein Entkommen vor der Motherlode - diesem ewigen Kontinuum aus hohem Drama und überhitzten Ampstacks, die geeignet sind, den Puls zu erhöhen und die Stimmung zu beleben. Es ist die unverwechselbare Bandchemie, die basischen harten Rock in Edelsteine verwandelt. Stockholms Lugnet beherrschen diese alchemistische Kunst. Dampfwalzende Grooves und grandiose Hymnen, gebaut auf einem 70er Jahre Felsen. Der Urstampf der frühen Deep Purple, die apokalyptische Predigt von Black Sabbath und die filmische Majestät von Rainbow können leicht im allmächtigen Sturm und Drang erkannt werden.Doch dieser Sound wird mit Charisma und eigenwilliger Energie bereichert, der mühelos frisches, lebendiges Leben in eine klassische Form bringt. Der Funke wurde 2009 entzündet, als Fredrik Jansson-Punkka (Drummer Angel Witch, Witchcraft, Abramis Brama und Count Raven) den Bassisten Lennart 'Z' Zethzon auf dem Sweden Rock Festival traf. Drei Jahre stießen die Gitarristen Bonden Jansson und Mackan Holten und der Sänger Roger Solander hinzu.Auf dem zweiten Album wurde Solander durch Johan Fahlberg ersetzt, der den verwegenen Charme der Dio/Coverdale-Tradition mit ganz eigenen Schnörkeln und Persönlichkeit verbindet, während Bonden Jansson dem Gitarristen Wunderkind Matti Norlin Platz machte. Nach dem Sweden Rock Festival 2018 kam Mackan Holten (Troubled Horse) als neuer Gitarrist noch hinzu und Lugnet hatte die ideale Form gefunden. Was auch immer die Zukunft für Lugnet bereithält, diese Maschine feuert aus allen Rohren, und Rocker aller Art wären gut beraten, an Bord zu gehen oder aus dem Weg zu gehen.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

Following several tragedies in his personal life, New York rapper El Gant had a decision to make—face those losses head on or bury them deep within. Luckily for us, he chose the former. The result is O.S.L.O., the emcee’s most gripping and personal project yet. It’s also his most relatable, because it shows what we’re all capable of when we’re equipped with the right tools to cope and, in El Gant’s case, transform that tragedy into something powerful.

The album arrives nearly a decade after his previous solo effort, 2014’s great Beast Academy, and after several years spent touring and recording with his group, Jamo Gang, with Ras Kass and J57. Despite the highs associated with that time, El Gant also experienced major personal losses. In particular, he lost three close friends—The Last Original, Bones, and Jim Misa—all of whom had a major impact on his life and career. In fact, the album’s title, O.S.L.O., references the Last Original, because it’s an acronym for “Our Sun the Last Original.”

But it wouldn’t be an El Gant project without some straight-up dope hip-hop, too. Tracks like “Avirex (feat. Innocent? & King Magnetic)” and “Chromed Out (feat. Ras Kass & Planet Asia)” are absolute bangers filled with shape-shifting flows and crazy wordplay.

There’s a reason for these tonal shifts, too; El Gant didn’t want to simply create a linear album. “I want to take the listener on a few ups and downs, just like life does for most of us,” the emcee says. It’s those qualities that make O.S.L.O. so immediately satisfying, and why it’s his most accomplished work to date.

First ever vinyl edition of this one off collaboration between Philippe Poirier (Kat Onoma) and Stefan Schneider (to rococo rot / TAL) which was initiated by La Batie - Festival de Geneve, in 2002. The original recordings of the album took place the same year at Bleibeil Studios, Berlin. Engineered by Bernd Jestram. Restauration and mastering by Detlef Funder at Paraschall, Düsseldorf in 2022.

"19 or 20 years, what difference does it make if the beautiful things in life are able to transport us back to Year Zero - again and again. The moment when this album was created. It is the timeless horizon that motivates the artist. “Dad, what’s the line doing there ?” - a good start for a story. Philippe Poirier and Stefan Schneider recount tales of slow travel, far beyond the known continents.
The adventures of a certain Corto Maltese, mysterious love stories in long forgotten harbours. A love that creates its own time, just like a chess game, an ocean liner or propeller airoplanes. The enthusiasm for cartography which Philippe Poirier and Stefan Schneider share, time and again, similar to dream. The dream of an idea, of exploration, of finding. The first lines of a drawing that become the great painting. The sequences and the words which design a world in its own right. A tremendous reservoir and my old friend knows that there is an ideal companion for every journey. This time Philippe Poirier is a narrator who finds a sound like sand flowing through fingers and who knows how deep each object accompanies each love. Les Choses de la Vie." Detlef Weinrich (tolouse low tax), Paris 2021

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual. The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights.

VALBORG haben seit ihrer Gründung im Jahr 2002 mit jedem Album eine große Lust zu musikalischen Experimenten und Grenzüberschreitungen gezeigt. Dabei ist das Trio aus Bonn trotz aller Geschicklichkeit bei der Vermeidung von musikalischen Schubladen jedoch seinem ebenso dunklen wie harten musikalischen Markenkern stets treu geblieben. Entsprechend schwer haben sich Kritiker mit der Einordnung ihres Sounds getan und es unter anderem mit Etiketten wie "Doom", "Blackened Death Metal" und "Industrial" versucht. Fest steht, dass VALBORG auf ihrem neuen Album mit dem Titel "Der Alte" einen bewusst reduzierten Ansatz verfolgen. Die brutalen neuen Tracks kommen kurz und bündig auf den Punkt, nutzen einfache Strukturen und setzen auf extremen Gesang. Dazu kommt der typische, unerbittliche Schlagzeugbeat als Markenzeichen der Band. Unterstützt von LANTLOS-Schöpfer Markus Siegenhort, der für die gesamte Produktion verantwortlich zeichnet, haben sich VALBORG für einen rohen, ungeschliffenen Sound entschieden. Dieser stützt sich ganz auf die Gitarren, da dieses Album ohne Keyboards auskommt. Zu ihren hörbaren Metal-Einflüssen fügt das Trio weitere Elemente, zum Beispiel aus Punk und Wave, hinzu. Unter dem Strich bringt die Vereinfachung knallharte Tracks, die dennoch VALBORGs cineastische Qualitäten aufweisen und passend zu ihren lyrischen Themen bedrohliche Albtraum-Szenarien in kosmischen Dimensionen konstruieren. In den Texten lauern Schrecken und Wahnsinn der Abgründe des Weltraums, ebenso wie xenomorphe Manipulationen und apokalyptische Visionen, die sich oft auf kanonische Werke der modernen Science Fiction Literatur beziehen. VALBORG wurden 2002 in der deutschen Stadt Bonn gegründet. Kritiker haben das Trio unter anderem mit Künstlern wie GODFLESH, CELTIC FROST und TRIPTYKON sowie TYPE O NEGATIVE verglichen, doch VALBORG sind ihre eigenen Wege gegangen, die sich einfachen Kategorisierungen entziehen. Die Deutschen wurden bereits zum zweiten Mal vom trendigen Roadburn Festival in die Niederlanden eingeladen und haben auf weiteren renommierten Festivals und Touren mehrmals Europa durchquert. Die letzten Tournee spielte die Band im Vorprogramm von MANTAR und HEMELBESTORMER. Mit "Der Alte" bieten VALBORG weit mehr als nur einen bittersüßen Ohrenschmaus für ihre treue Fangemeinde: Das präzise, hart einschlagende Album ist für alle gedacht, die sich nach ebenso brutaler und dunkler wie intelligenter neuer Musik sehnen!

VALBORG haben seit ihrer Gründung im Jahr 2002 mit jedem Album eine große Lust zu musikalischen Experimenten und Grenzüberschreitungen gezeigt. Dabei ist das Trio aus Bonn trotz aller Geschicklichkeit bei der Vermeidung von musikalischen Schubladen jedoch seinem ebenso dunklen wie harten musikalischen Markenkern stets treu geblieben. Entsprechend schwer haben sich Kritiker mit der Einordnung ihres Sounds getan und es unter anderem mit Etiketten wie "Doom", "Blackened Death Metal" und "Industrial" versucht. Fest steht, dass VALBORG auf ihrem neuen Album mit dem Titel "Der Alte" einen bewusst reduzierten Ansatz verfolgen. Die brutalen neuen Tracks kommen kurz und bündig auf den Punkt, nutzen einfache Strukturen und setzen auf extremen Gesang. Dazu kommt der typische, unerbittliche Schlagzeugbeat als Markenzeichen der Band. Unterstützt von LANTLOS-Schöpfer Markus Siegenhort, der für die gesamte Produktion verantwortlich zeichnet, haben sich VALBORG für einen rohen, ungeschliffenen Sound entschieden. Dieser stützt sich ganz auf die Gitarren, da dieses Album ohne Keyboards auskommt. Zu ihren hörbaren Metal-Einflüssen fügt das Trio weitere Elemente, zum Beispiel aus Punk und Wave, hinzu. Unter dem Strich bringt die Vereinfachung knallharte Tracks, die dennoch VALBORGs cineastische Qualitäten aufweisen und passend zu ihren lyrischen Themen bedrohliche Albtraum-Szenarien in kosmischen Dimensionen konstruieren. In den Texten lauern Schrecken und Wahnsinn der Abgründe des Weltraums, ebenso wie xenomorphe Manipulationen und apokalyptische Visionen, die sich oft auf kanonische Werke der modernen Science Fiction Literatur beziehen. VALBORG wurden 2002 in der deutschen Stadt Bonn gegründet. Kritiker haben das Trio unter anderem mit Künstlern wie GODFLESH, CELTIC FROST und TRIPTYKON sowie TYPE O NEGATIVE verglichen, doch VALBORG sind ihre eigenen Wege gegangen, die sich einfachen Kategorisierungen entziehen. Die Deutschen wurden bereits zum zweiten Mal vom trendigen Roadburn Festival in die Niederlanden eingeladen und haben auf weiteren renommierten Festivals und Touren mehrmals Europa durchquert. Die letzten Tournee spielte die Band im Vorprogramm von MANTAR und HEMELBESTORMER. Mit "Der Alte" bieten VALBORG weit mehr als nur einen bittersüßen Ohrenschmaus für ihre treue Fangemeinde: Das präzise, hart einschlagende Album ist für alle gedacht, die sich nach ebenso brutaler und dunkler wie intelligenter neuer Musik sehnen!

(Gatefold with UV gloss finishing) 'Reunion' is the third album from nu-disco star Tim Bernhardt, aka Satin Jackets. Released this summer on Eskimo Recordings 'Reunion' is a stunning follow up to the German producer's first two critically acclaimed albums and features 14 stunning tracks of sun kissed disco, Balearic house, leftfield pop and guest vocals from the likes of Australian star Panama, Belgian singer Ivy Falls, US based vocalist Metaxas and up and coming British singer Tailor.

Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double -album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and '90s. Among the group's early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee's Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films

Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal – and well documented – year in the free jazz artist’s career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity, Ayler’s first record for the legendary ESP-Disk’ label, that summer.

Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like “Spirits” and “Ghosts” the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz. Our Swimmer is pleased to present the first official vinyl reissue of The Hilversum Session in over thirty years.

Das zweite Album von Master, aufgenommen von Scott Burns in den Morrissound Studios! Klassischer Death Metal der 1990er Jahre!
Eines der Probleme beim Rückblick auf ein Musikgenre aus einer Perspektive, die Jahre oder Jahrzehnte vom Kern der Bewegung entfernt ist, dass spätere Entwicklungen dazu neigen, sowohl die Ursprünge eines Genres als auch die Fäden innerhalb einer Tradition zu verwischen, die ohne Nachkommen ausgestorben ist. Das Ergebnis ist, dass interessante und verdienstvolle Alben oft untergehen, wenn Kritiker über die Alben nachdenken, die den größten Einfluss auf spätere Errungenschaften hatten.

Die Death-Metal-Pioniere Master gehören zu denjenigen, die aufgrund dieses Phänomens zu kurz gekommen sind, und ihr 1990er Meisterwerk "On The Seventh Day, God Created... Master" bleibt eine faszinierende Erkundung sowohl der Wurzeln des Genres als auch der Räume, die es hätte einnehmen können, wenn andere Wege eingeschlagen worden wären.

Es gibt ein paar Dinge, die selbst dem Gelegenheitshörer sofort ins Auge springen. Das erste ist der scheinbare Primitivismus der Musik, mit Songs die aus relativ kurzen, knüppelnden Stücken bestehen, die von unerbittlichen Rhythmen, zyklischen Riffs und einfachen melodischen Hooks angetrieben werden. Das zweite ist die Erkenntnis, dass jemand einige wirklich verrückte, brillant konstruierte Leads spielt. In diesem Fall ist das Paul Masvidal, der damit alles übertrifft, was er jemals mit Cynic erreicht hat.

Hinter der oberflächlichen Einfachheit verbirgt sich ein kreativer Geist, der gleichzeitig an die ursprüngliche Geburt des Death Metal erinnert (bei der Master sowohl anwesend war als auch eine treibende Kraft war) und der den Weg zu dem weist, was aus dem Genre hätte werden können.

Ganz offensichtlich sind die Hardcore-Wurzeln des Genres,
Master meidet hier die von Slayer abgeleitete technische Architektur, die den meisten "modernen" Death Metal dominierte, zugunsten von
Strukturen, die auch auf einem Discharge's Meilenstein "Hear Nothing See Nothing Say Nothing" nicht fehl am Platz gewesen wären (es gibt sogar ein paar Auftritte des berüchtigten D-Beats). In dem unerbittlichen Sturm brutaler Wiederholungen ist die Kernaussage der Musik verschlüsselt, eine schiere Urwut, die aus den donnernden Zyklen der Powerchords tropft und dem offenkehligen Gebrüll (wieder der Hardcore-Einfluss) von Sänger und Hauptsongwriter Paul Speckman. Dazu kommen Momente des Nachdenkens, in denen die Songs in einer Art High-Dezibel-Gedudel kollabieren, und ein angeborenes Gespür dafür, wie man Melodien aus den infernalischen Tiefen der Dissonanz herauskitzelt, und die bereits erwähnten Masvidal-Soli (und es kann nicht genug betont werden, wie sehr diese Leads zerreißen). Was dabei herauskommt, ist etwas, das über
seine eigene scheinbare Rohheit hinwegtäuscht und nicht so sehr eine Aussage über blinde Wut, oder gestörte Entfremdung, sondern eine meisterhafte Erklärung von Gewaltbereitschaft.

Ein Symposium of Sickness, das keine Ader unberührt lässt, Gastvocals von Jeff Walker (Carcass)! Klassischer Grinding Death Metal der alten Schule!

Grinding Death Metal ist noch nicht tot und seine Zukunft ist hier in Form der schwedischen Band Consumption. Sie gaben uns allen einen netten Vorgeschmack auf ihr Debüt "Recursive Definitions of Suppuration", das weltweit gute Kritiken erhielt, aber niemand konnte erwarten, was noch kommen würde. Consumption ist eine neue schwedische Band, die zermalmenden, von Carcass beeinflussten Grind/Death produziert, und auf "Necrotic Lust" haben sie das Album gemacht, das Carcass nie gemacht haben "Necroticism - Descanting the Insalubrious". Dieses Projekt ist die Idee des Multi-Instrumentalisten Håkan Stuvemark, der für seine Arbeit mit einer ganzen Reihe von extremen Metal-Bands bekannt ist (und die
bekannteste davon ist Wombbath). Und er lud den erfahrenen Schlagzeuger Jon Skäre ein, seine Band zu vervollständigen und das nächste Level zu erreichen.

Consumption's knirschender Death Metal mit unheimlichen Melodien klingt wie Carcass in ihren 90er Jahren, hat aber auch eine ganz eigene Note. Und auf "Necrotic Lust" haben sie Jeff Walker (von Carcass) als Gastsänger eingeladen, der einen tollen Job gemacht hat. Der Gesamtsound des Albums ist nun aufgewertet, ungeschliffen und doch gut produziert, so wie es sein sollte, wenn man hohe Qualität liefert.

Mit ihrem 1993er Debütalbum ‘Scorn Defeat‘ machte die
Band um Sänger/Bassist Mirai Kawashimi erstmals international auf sich aufmerksam, um sich mittlerweile als eine
der erfolgreichsten Metalbands Japans zu etablieren.
Einstmals Vorbild für Bands wie Emperor oder Cradle Of
Filth, legt Sigh jetzt 10 neue Tracks hin, die Metal-Fans mit
ihrer Kreativität, Power und Bandbreite positiv überraschen
werden. Psychedelic- und Prog-Elemente werden gekonnt
mit den Black Metal-Wurzeln der Band vermählt.

Geprägt vom „Fun-Punk“ bekannter Größen wie TERRORGRUPPE oder KOTZREIZ und Melodie-getrieben wie gängige
90er US-Punk-Bands, lassen sich PARKPUNK einfach mal
treiben und verzichten auf Schnickschnack wie GitarrenSoli. Das musikalische Ganze hat am Ende so viel Charme,
dass man es nur lieben oder hassen kann. So wie PARKPUNK eben: ein Wortspiel, subtil wie eine Leitplanke!

Mit "We Are Not Your Kind" präsentierten Slipknot, die berüchtigten Maskenmänner aus Iowa, ihr sechstes Studioalbum.

Ganze fünf Jahre nach dem letzten Album ".5: The Gray Chapter" kehrt die Band mit ihrem lang erwarteten Metal-Kracher zurück. Inklusive den Tracks "Unsainted" und "Solway Firth" ist dieses Album ein Must Have für jeden Metal-Fan.

Unter den großen Komponisten ist Bach unbestritten der
Größte: Kaum ein Musiker, der ihn nicht verehrt. Kein
Wunder, denn seine Musik erreicht unsere Herzen ganz
unmittelbar. Unter den jüngeren Pianisten hat sich der
Franzose David Fray als einzigartiger Bach-Interpret einen
Namen gemacht. In seinem Spiel verbinden sich
Klangsensibilität und Geist auf höchstem Niveau.

Blue Mitchell’s run of albums for Blue Note in the
1960s are considered some of the great jazz
recordings of the era. However, his early 1970s
output following his departure from the label is
often overlooked.
 ‘Blue Mitchell’ is a fantastic jazz soul set featuring
a stellar line up of Black Jazz recording artist
Walter Bishop Jr., Doug Sides, Larry Gales and the
legendary Jimmy Forrest.
 Licensed officially from Mainstream and
remastered from the original tapes, this is the best
the record has ever sounded.
 Mastered from the original analogue tape transfers
by Kevin Gray.
 12” insert featuring rare photographs and words
written especially for this release by Doug Sides.
 Printed and pressed at Pallas on 180 gram vinyl
and housed in a deluxe reverse-board jacket.

CHARLES MINGUS (1922 – 1979)

At the end of the Fifties, hard bop was something else looking for a way out. The inexorable cycle of avant-garde trends needed renewal. These were years when both sides of the Atlantic saw wide-reaching deconstruction in philosophy, painting and music. Everything that seemed to belong to a healthy, normal, established order was seen with the most scrupulous scepticism.

In the history of art, successive pivotal years have always had an artificial aspect while at the same time they have revealed the state of an art that would define a new aesthetic. 1913… 1922 … 1959 … The Shape of Jazz to Come, Kind of Blue, Time Out, Ah Um … When creative minds decoded the structures of an art that was current, it was time to discover new ones. Charles Mingus was one of those who deconstructed, a creator and inventor who marked out a path for the other artists to come.

One of the most rare and sought after soul lp’s from the mid 1970s, Love Is a Very Special Thing by Charles Williams receives a lush reissue from Svart Records. Originally released in Finland only, American singer and songwriter Charles Williams has remained in obscurity ever since, only known to die hard soul record collecting enthusiasts. Williams’ Love Is a Very Special Thing is an epic concept album that has only been reissued in Japan some years ago in a limited edition run and is still a hard to find, highly prized collectors item. Brilliantly crafted black funk and soul from the disco era, Williams was a highly talented soul singer and musician influenced by a wide range of styles, from soul stars Marvin Gaye, Barry White and Isaac Hayes to folk rock band Crosby, Stills & Nash. Williams’ soul music is neither easy listening nor disco, but brings to mind the best of the creative 1960s Motown artists and singer-songwriters like Joni Mitchell and Judy Collins. Love Is a Very Special Thing began raising interest among soul collectors in the 1990s, when the internet brought record collecting into a new era. Williams’ name was discovered outside Finland and the prices soon went up. It’s no wonder: Love Is a Very Special Thing is as good as the best US soul albums of the era, but soul fanatics outside Finland didn’t have a clue about it, because it was released in Finland only, and as a relatively small pressing too. This new luxury edition by Svart Records is the LP plus a replica of the rare 7” Just As Long / Funky Music (1976) that has never been reissued until now. The CD has the single as bonus tracks. Get yourself acquainted with a rare piece of Finnish funk and soul history, and discover an artist whose music deserves to shine again.

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before.
Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart.

Reckoning is their Master of Puppets, their Number of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning.

“This album is every aspect of our band amplified to its maximum potential,” says singer/guitarist Jake Nunn. “This is the record we've always wanted to make, and it feels like we're just getting started,” guitarist Tony Campos adds. “We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,” says drummer Mike Smith.

With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. “I set up a little studio in my garage to record guitar, bass, and vocal tracks,” Campos says. “While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.” Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together.

The band’s heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021. Reckoning was recorded and mixed at Atomic Studios in Oakland, CA with Chris Dugan.

The title track kicks things off with a slight nod to the layered melodies of acoustic and harmonized guitars of Metallica’s “Battery” before the band rips into its signature galloping guitar picks, soaring harmonies and blistering rhythms. It’s an anthem and a gauntlet thrown down with Nunn’s shimmering screams and guttural howls while dueling guitar solos and Smith’s relentless double bass drum shuffle bring home the point that Hell Fire is born anew. “Medieval Cowboys” hearkens to the epic attack of Iron Maiden’s Powerslave with glistening melodies and complexly interwoven musical shifts that showcase exactly how tight and precise the band has become. “Addicted To Violence” is blistering thrash and “Thrill Of The Chase” soars with rich harmonies while both songs lyrically reflect hard truths the band faced in isolation. The lush acoustic based ballad “A Dying Moon” shows the band effortlessly stretching out in new directions. “It Ends Tonight” is an epic anthem served as a mission statement to the band’s return wherein arpeggiated riffs, squealing pinch harmonics, group chant vocals and Smith’s octopus-armed beats will have legions raising their fists in the air in salute.

“It’s somehow the heaviest and most melodic work we’ve done, and I’m proud of the discipline it took,” Nunn says. “It’s a wild thing.”

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

Pello Joxepe is in the bar, but this time he's moving his hips to the sound of Curtis Mayfield's Superfly funk-soul Groove. These are the kind of psychedelic visions created by this esoteric "Akelarre Sorta", an unparalleled gem. The African American saxophonist, pianist and composer William S. Fischer, who worked in the 1950s with stars of the stature of Ray Charles, Muddy Waters, Joe Zawinul and Roberta Flack, in 1972 made an album of catchy, funky versions of popular tunes. And that's it, as simple as it is mysterious and surprising. Little more has ever been known about this recording or about the reasons behind William's visit to the Basque Country. So here it is, ready to attract a new audience to join the cult following it has gradually built up over nearly 50 years. Warning: Try it once and you'll be hooked.

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.

Terreno Baldio is hailed as one of the leading progressive rock bands from the seventies in Brazil, from its surrealistic album art to its equally interesting music, translates the feeling of wasteland to an alternative world of beauty and complexity, achieving worldwide popularity over several essential albums lists. The homonymous work Terreno Baldio, released in 1976, was an active part of a whole scenario of youth suffering from strong political repression, representing in the song Grite (Scream) the desire of all Brazilian society that yearned to express its voice with freedom, being an impressive moment of collective catharsis in their live performances. Originating in Sao Paulo in the early 1970s, it released its debut album in 1976, recorded on 4 channels. Formed by Mozart Mello on guitars, Roberto Lazzarini on keys, Joao Ascençao on bass, Jô on drums and Joao Kurk (Fusa) on vocals and percussion. The band Terreno Baldio was born in 1974, when they got together in a group with the purpose of making progressive rock. Roberto Lazzarini was already playing with Joao Kurk and Joaquim in the Ilanders group, a dance band; Mozart Mello and Joao Ascensao joined there, having met on the recordings of Pete Dunaway's album. Everyone knew and liked King Crimson, Gentle Giant and Yes, wanting to make a more worked sound as a group, thus creating Terreno Baldio.

With arrangements and piano by Alfredo Linares, this is a thrilling double-sider sought after by collectors and DJs because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic a few years back) and 'INS-Rock'. Proper Afroantillano party business melting Cuban, Nuyorican and Colombian tropical traditions. First time reissue on 7" vinyl. Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as Afroantillano, combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). At that time Alfredo Linares was musical director at INS and this album -the first one Julián Angulo recorded for the label- bears his influence in the funky 'Mambo Rock' sections (breaks and handclaps galore!) and hot Cuban and Latin jazz piano styles that also graced his own records.

"Megatone" ist das dritte Studioalbum des Side-Projekts von Klaus Schulze, Richard Wahnfried, das 1984 veröffentlicht wurde. Auf diesem Album arbeitet Schulze mit Michael Garvens, Axel-Glenn Müller, Ulli Schober, Michael Shrieve und Harald Katzsch zusammen. Im Gegensatz zu den Projekten, die unter dem "Klaus Schulze" Namen laufen, wird bei Richard Wahnfried eifrig kollaboriert und improvisiert. Handgespielte Instrumente, wie elektrische und akustische Gitarre, Saxofon, E-Piano oder auch simple Perkussion bekommen hier großen Raum zur Entfaltung. In "Angry Young Boys" wird sogar auf sehr rockige Weise gesungen. "Megatone" ist ein durchaus hörenswertes und abwechslungsreiches Album. Keine Spur von Verlorenheit in wabernden Synthesizerwänden, sondern sehr erdig und lebendig.

In Kooperation mit dem Künstler, Komponisten und Sounddesigner stonefromthesky (Oleksii Zinchenko) bringt Black Screen Records den Soundtrack von Undungeon auf eure Plattenspieler. Die Musik zum Action-RPG von Laughing Machines erscheint in limitierter Auflage auf Doppel-Vinyl.Alle Tracks wurden von Christian Bethge (Risk of Rain, Deadbolt, Divinity: Original Sin II, A Plague Tale) sorgfältig neu gemastert und auf 45RPM geschnitten. Der Soundtrack kommt in einem minimalistischen Gatefoldsleeve mit Artwork von Serhii Kochmar und "Glow-in-the-Dark" Spotlack."Nach 6 langen Jahren der Produktion, in denen wir auf viele harte Proben gestellt wurden, ist der Undungeon OST endlich fertiggestellt. Heruntergebrochen auf 16 Tracks, bleibt es der Idee treu, den Soundtrack als zusammenhängendes Album zu veröffentlichen. Geschnitten in 45RPM für höchste Qualität, nimmt der Soundtrack euch mit auf eine musikalische Reise durch das Multiversum und geleiteten euch in den Shift." -stonefromthesky"

Rot-schwarz und orange-schwarzes marbled Vinyl. "Black Screen Records freut sich den rifflastigen Metal-Soundtrack zu Awe Interactives Rhythmus-Shooter BPM: Bullets Per Minute auf Vinyl zu veröffentlichen. Der von Joe Collinsons und Sam Houghtons im Home-Studio komponierte Soundtrack erscheint auf limitiertem marmoriertem Vinyl und kommt in einem Gatefold Sleeve mit Key Art von Jacob Briggs und enthält den Bonus Track "Yggdrasil's Roots" von Reuben Hawthorn."Als wir den Soundtrack während der Pandemie Zuhause remote komponierten, hätten wir nicht damit gerechnet, dass er so ein breites Publikum erreichen würde. Es freut uns sehr, dass so viele Leute unsere - offen gesagt ziemlich alberne - Musik genießen. Wir sind stolz auf die Zusammenarbeit mit Black Screen Records und freuen uns auf das Ergebnis, das in unseren Augen die einzig wahre Art ist, den Soundtrack zu BPM: Bullets Per Minute zu hören. Das BSR-Team hat während unserer Zusammenarbeit dafür gesorgt, dass sowohl Mastering, Artwork und Verpackung exzellent sind. Wir wünschen euch viel Spaß bei eurer Reise zurück nach Asgard, jetzt geschnitten auf 33RPM!"- Joe Collinson & Sam Houghton"

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

Die Pioniere des French House, Alan Braxe und DJ Falcon, alias Alain und Stèphane Quême, veröffentlichen ihre erste gemeinsame EP als Braxe + Falcon auf Smugglers Way, dem neuen, auf Dance & Electronic fokussierten Imprint von Domino.

Alain und Stéphane Quême, oder Alan Braxe und DJ Falcon, sind die unbestrittenen Architekten des French Touch - der gefühlvollen House-Musik, die aus geloopten Samples mit einem unnachahmlichen gallischen Flair gezaubert wird und Mitte der 90er Jahre in Paris entstand. Im Jahr 2022 werden diese beiden Originale ihre erste Zusammenarbeit als Braxe & Falcon in Form der Step By Step EP präsentieren, die auf Smugglers Way erscheint. Braxe ist bekannt für einige der wichtigsten und kultigsten House- und Popmusik-Platten der späten 90er und frühen 2000er Jahre, darunter "Music Sounds Better With You" (The Upper Cuts) als Stardust mit Thomas Bangalter von Daft Punk und offizielle Remixe für Beyoncé, Britney Spears, Kelis, Kylie Minogue und mehr. Bangalter arbeitete in den frühen Tagen auch mit DJ Falcon zusammen und veröffentlichte als Duo Together die French Touch-Hymne "So Much Love To Give". Neben wichtigen Remixen für Phoenix, Cassius und Justice hat Falcon zuletzt "Contact", den explosiven Abschlusstrack von Daft Punks Megalith "Random Access Memories" aus dem Jahr 2013, mitproduziert, geschrieben und mitgespielt.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Funk friven early Italo Disco by Phono! "Music Is My Sex" is to be inserted in the Italo-Disco trend of the early 80s, but also with a nod to Funk and Disco Music from overseas. The use of the Nile Rodgers-style guitar completes a rhythmic base in which the bass is played on the synthesizer, while the melodic lines are entrusted, in addition to the voice, to the electronic keyboards. Three members of Phono sang the various verses, while the bridge was entrusted to a carpet of keyboards. The keyboardist and arranger Paolo Biasich, a great fan of electronics, had built some synthesizers (also used by Giorgio Moroder) used in the song. The piece was recorded in Sandy Dian's studio in Gambellara (close to Vicenza), whit text by the eclectic author and dee-jay Art De Rosa was a declaration of love for the music that goes around ("around and around") and that "gives us more", coming to compete with sex... The vocal version on the A side of the vinyl is joined by an instrumental version on the flip that ends with a piano solo. Limited edition of 300 copies in vinyl reissue at 180 grams.