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David Douglas and Applescal both share a deep passion for the road. In the summer of 2023, they decided to come together to write a track. Full of inspiration and atmospheric ideas, this evolved from a rough concept into a collection of tracks. What initially began as an idea for a single track quickly grew into the full-fledged electronic album 'Démarrage'.

Krautrock and EBM inspired post-industrial techno. Next-level electronic music made by one of The Hague's most original producers. Must have for fans of Unit Moebius Anonymous and Shitcluster.

Debut 12" from the new label RE-DISCO-VER. A new series from SOULSIMMER & ALVARO who have been delivering sundry melodies at their intimate and private gatherings for some time. Check out these 4 simmered and extended adaptations aimed to peak your interest. Limited color vinyl. Paper sleeves.

"to breathe again..." is the new compilation from Special Species Records, featuring a global collection of artists showcasing Ambient, House, Wave, UK Garage, and Lo-Fi. The release features artwork by Lela Amparo. All profits from this release will go to the Rainforest Foundation US.

In celebration of its 10th anniversary, Aesthetical Records is honoured to reissue Peau Froide, Léger Soleil, the groundbreaking collaboration between Finnish electronic music luminary Mika Vainio and French experimental music pioneer Franck Vigroux. Originally released in 2015, this new edition revives a work of unparalleled sonic intensity and textural exploration. The album is set to release on double vinyl and CD on May 24, 2025.

This iconic album is the result of a three year recording process that began after Vainio and Vigroux’s first live performance in Paris in 2012. Their collaboration serves as an intricate balance of minimalist meditations and maximalist energy, pushing electronic music into radical new directions. Peau Froide, Léger Soleil is a journey through psychic resonance and spatial abstraction, constructed through Vainio’s intense, brutalist grooves and Vigroux’s explorations in tonal extremities. Spanning a total of nine tracks, the album unfolds like an odyssey, densely layered yet free from structural limitations, traversing vast emotional landscapes where each sound feels at once intimate and tectonic.

Beginning with the ominous, bass-heavy textures of “Deux,” Vainio and Vigroux establish a dynamic atmosphere, setting the stage for the intense soundscapes to follow. “Mémoire” introduces ghostly voices that weave through thick waves of sub-bass and distorted noise, while “Souffles” explores uncharted sonic territories with its microtonal landscapes and spectral ambiance. Vigroux’s mastery over spatial abstraction comes to life in “Le Souterrain,” adding an atmospheric weight reminiscent of Ennio Morricone’s stark loneliness or Neil Young’s Dead Man soundtrack. In contrast, tracks like “Parabole” and “Le crâne tambour” unleash fierce, maximalist grooves, making them some of the most aggressive and memorable moments in Vainio’s discography.

Peau Froide, Léger Soleil represents a landmark in its sonic identity, embodying a vision of uncompromising, avant-garde sound design. This anniversary reissue on Aesthetical honours that legacy while inviting new listeners into Vainio & Vigroux’s collaborative universe—a space where electronic music becomes both weapon and sanctuary.

The 10th-anniversary edition promises a fresh listening experience, preserving the legacy of two artists who have redefined the boundaries of sound.

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival, collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern productions beyond the clubs and hardcore vinyl enthusiasts, to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues its role as a modern tastemaker in both jungle music and the wider electronica scene with Blunted Breaks Vol.3, a 12 track long player featuring a selection of deep and textural future jungle workouts from the freshest rising talent & now established stalwarts of jungle music.

Released on triple heavyweight (180g) black vinyl, shrink-wrapped in full art sleeves & digital.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, Desire: The Carl Craig Story is set for release on digital platforms on 20th June 2025, with 2x12” Vinyl and CD editions to follow on 18th July 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career. rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano. Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles. MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

Mit großer Vorfreude präsentiert Gabriel Kelly sein mit Spannung erwartetes Debütalbum, das die Grenzen zwischen Rock und Rap auf aufregende Weise verwischt. Nachdem Gabriel über zehn Jahre lang mit seiner Familie musikalisch unterwegs war und vergangenes Jahr im TV Format "Lets Dance" als Sieger hervorging, widmet er sich nun der Musik als Solo-Künstler.

Originally released in late 2012, the third John Foxx And The Maths album brings together collaborations with The Soft Moon (the post-punk psychedelia of the title-track); Gazelle Twin (including the strikingly beautiful 'Changelings'); New York duo Xeno & Oaklander and Ghostly International's Matthew Dear, plus a Pink Floyd cover and some new Foxx/Benge material. This includes the rich analogue glow of 'Walk' and apocalyptic ballad 'Only Lovers Left Alive'. Meanwhile, regular Maths live band member Hannah Peel plays violin on 'My Town’. This new vinyl reissue includes only the vocal tracks from the album.

Primera referencia en formato 2 x 12" del sello Español X Erie.
Con artistas referentes del techno internacional como Steve Redhead, Eric Sneo, Axel Karakasis, Gary Beck, Filterheadz, Oscar Escapa y el comandante del sello
Horacio Cruz.

Una edición muy cuidada, con portada especial, llena de sonidos enérgicos que nos transportan a la época dorada del techno más pistero.

Incluye una remezcla del track "Despiertos" a cargo de Gary Beck y cerrando en la D1, una pista con ritmos rotos y melodías profundas a cargo de Horacio Cruz.

Un doble vinilo imprescindible para djs y coleccionistas del género.

Jede Compilation-Serie hat ein Ende. Nach 10 grandiosen Ausgaben verabschieden wir uns nach diesem 11. Teil von der unter Sammlern und Musikliebhabern hoch geschätzten Praise Poems Reihe. Ganz bewusst wagen wir uns mit diesem letzten Teil an ein Genre heran welches wir bis dato nur in Ausnahmen mit einbezogen haben: Power Pop der späten 1970er und frühen 80er.

Los geht’s mit „Real Proof“, einem unveröffentlichten Song der ursprünglich aus Boulder, Colorado stammenden Band The Nails die einige Jahre später sogar unter Vertrag eines Major-Labels standen. Obwohl die Fingerprints ein ganzes Album aufgenommen haben hat es über 45 Jahre gedauert bis dieses schließlich 2022 veröffentlicht wurde. „Wasted On You“ stammt von einer der drei Singles die zwischen 1978 und 1980 veröffentlicht wurden. Ganz im Gegensatz zu den Fingerprints sind die Original-Singles von Naked Rush extrem selten. Dies ist wohl mit ein Grund warum keiner ihrer Songs bis dato auf einer Compilation zu finden ist. Schön, dass wir dies nun ändern. Dies gilt übrigens für die Mehrzahl der Songs auf diesem Album und generell für alle unserer Compilation-Alben. Fritz, Blue Rain, oder Holidaye machen hier keine Ausnahme. Speziell erwähnen möchten wir noch zwei Songs. Zum einen „Don’t Quit“ von The Scam der von William Garrett produziert wurde. Garrett war von 2016 bis 2023 bei Spotify als Senior Music Producer für die Einführung von Spotify Singles zuständig und hat in dieser Zeit mit Künstlern wie Elton John, Ed Sheeran, John Legend und vielen weiteren zusammengearbeitet. Zum anderen gibt’s eine tolle Geschichte zu Animal Logic. 1989 erfuhr die Band, dass Stuart Copeland von The Police eine neue Band gründete. Der Name? Animal Logic! Nachdem Bitten, den Namen nicht zu verwenden, ignoriert wurden, sahen sich die Jungs von Animal Logic gezwungen, die Angelegenheit vor Gericht zu bringen, und verkauften schließlich den Namen an Copeland. Noch viel mehr weitere, spannende Geschichten rund um die Bands gibt’s im Begleitheft der CD bzw. der LP-Beilage.

Mit “A journey into raw, energetic power pop from the 1980s” beenden wir nun unsere 10-jährige Entdeckungsreise durch die Musikgeschichte unter dem „Praise Poems“ Schirm. Wir hoffen sehr, dass euch unsere akribische Arbeit viel Freude bereitet hat. Geht eine Tür zu, geht eine andere auf. So wird es auch hier sein. Es gibt noch so unglaublich viel zu entdecken und so freuen wir uns jetzt schon auf viele weitere Veröffentlichungen!

EMIL GAYLES returns with DANSONS BOUGEONS (LET'S DANCE LET'S MOVE) feat. SWAYLO who's collaborated with ANTHONY NICHOLSON, GU and DJ PAP. Remixed by TRINIDADIAN DEEP known for his outstanding work on RON TRENT'S FUTURE VISION, DEEPBLAK & SHELTER RECORDS. Limited pressing

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Schwarzes Vinyl, Gatefold Sleeve. Der Hardcore-Klassiker ist zurück. "Brother Against Brother" liefert kompromisslosen 90er Oldschool-Sound mit brutaler Energie und NYHC-Attitüde. Fette Riffs, ehrliche Wut, kein Bullshit - ein Muss für jeden Hardcore-Fan. Ein Meilenstein des 90er Hardcore - jetzt endlich wieder in hochwertiger Gatefold-Ausführung verfügbar!

Repress!

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher').

It only seemed natural for the team at ATA Records to scratch their own Library itch and so last year's "The Library Archive Vol. 1" was born. Recorded over a series of sessions in the Alladins cave of vintage recording equipment that is ATA studios, it featured many of the stalwart musicians from the label who can also be found recording with The Sorcerers, Work Money Death and The Lewis Express.

Garnering praise from Library aficionado Shawn Lee("Holy F*$K this sounds great! ATA really smash the classic British Library sound. 10 out of 10") and the Don of British Library Music himsel fAlan Hawkshaw, "The Library Archive Vol. 1" was very well received and so a follow up was inevitable. Recorded during the Autumn of 2020, "The Library Archive Vol. 2" still has the golden age of European Library music squarely in it's sights, but this time the focus is drawn more to the wonky organ work of Italian quartet I Marc 4.

Each track has been lovingly crafted with a keen ear for authenticity and the same eye for detail shown on 'The Library Archive Vol. 1', recorded on the same instruments and equipment and with the same techniques as the music that inspired it.

The Library Archive is a labour of love for the label with more volumes planned.

ATA Records are proud to announce the new album I Too Am A Stranger from The Sorcerers, following previous album successes The Sorcerers and In Search of The Lost City of The Monkey God, which garnered high praise from Mulatu Astatke Who"s this? The Sorcerers? It"s cool! This is great. Give me the CD man!" and recent Radio 6-listed 7" single Exit Athens, of which Giles Peterson said, "Great Stuff as always".

2025 Repress

In an unprecedented international collaboration, Energy Exchange Records presents 'The Napoli Exchange' - the brainchild of Energy Exchange Records co-founders, Lewis and Ziggy, joining forces with producer and label boss Federico Gallotti (Tartelet / La Scimmia), the project was inspired by numerous visits to Naples, allured by the mediterranean breeze and of course the underground disco and funk forged by labels such as Early Sounds and Periodica Records. This meeting of minds created an opportunity to build bridges from the historic Italian city to the broader european scene of club crossover music.

BIOGRAPHY BY IRVINE WELSH
I discovered the Beta Band, like I discovered a lot of great music, basically through eventually surrendering to the enthused urgings of a mate who was cooler than me. He continually evangelized about the EP's. I was lost to the concert hall and firmly ensconced on the dancefloor by then and highly resistant, but quite taken by the idea that a band would bring out extended plays rather than singles. When I did check them out, I was instantly smitten by their originality and power.

The band, therefore, were pivotal for me in terms of my own musical journey, in that they represented a gateway back into indie guitar music, which I'd basically given up since becoming obsessed with rave and acid house.

The Beta Band were definitely a band for the cool cognoscenti- like my buddy- the ones you make a bit of a tit of yourself trying to convert quite straight boring people to.

The emotions they induced were a kind of throwback to school days when you were very pompous and prescriptive about what you liked, and derisive towards non believers. It's a testimony to the power of the music that they could take me to the raw state of the younger man.

I took it personally that they didn't hit the mainstream commercial base. At least two of the three albums they made deserved quadruple platinum status. Hot Shots II and Heroes to Zeros are permanently lodged very high in my top one hundred albums of all time.

So, the return of the Beta Band has me moving into the same mode of immature, adolescent anticipation. Everyone should have the Beta Band albums and EP's in their collection. It still kind of annoys me - in fact it bugs the shit out of me - that most of them don't.

And that really is something.

Barry Can't Swim veröffentlicht sein mit Spannung erwartetes neues Album, „Loner“ auf Ninja Tune!

In „Loner“ sehen wir Barry Can't Swim dabei zu, wie er die Welt, in der er sich befindet, erkundet. Geprägt vom überwältigenden Erfolg von Barry Can't Swims ausverkauften Liveshows auf der ganzen Welt, bleibt es seinen Wurzeln verhaftet, während er über Identität und Bodenständigkeit nachdenkt. Barry Can’t Swims hochgelobtes Debütalbum, „When Will We Land?“, das im Oktober 2023 veröffentlicht wurde und derzeit mehr als 100 Millionen Streams verzeichnet, erhielt unendlich viel Lob, darunter auch die Nominierung für den Mercury Music Prize 2024, neben Künstler:innen wie Charli xcx, Beth Gibbons, English Teacher, Ghetts und The Last Dinner Party. Barry Can’t Swim ist nun stolz darauf, neben Aphex Twin, Nia Archives, Burial, Jamie xx, Fred again.. oder Jon Hopkins als in die engere Auswahl für den prestigeträchtigen Preis gekommen zu sein - was als elektronischer Solokünstler eher seltener vorkommt. Darüber hinaus wurde er bei den BRIT Awards 2024 in der Kategorie „Dance Act“ nominiert und stand auf der Shortlist für das schottische Album des Jahres.

Barry Can't Swim veröffentlicht sein mit Spannung erwartetes neues Album, „Loner“ auf Ninja Tune!

In „Loner“ sehen wir Barry Can't Swim dabei zu, wie er die Welt, in der er sich befindet, erkundet. Geprägt vom überwältigenden Erfolg von Barry Can't Swims ausverkauften Liveshows auf der ganzen Welt, bleibt es seinen Wurzeln verhaftet, während er über Identität und Bodenständigkeit nachdenkt. Barry Can’t Swims hochgelobtes Debütalbum, „When Will We Land?“, das im Oktober 2023 veröffentlicht wurde und derzeit mehr als 100 Millionen Streams verzeichnet, erhielt unendlich viel Lob, darunter auch die Nominierung für den Mercury Music Prize 2024, neben Künstler:innen wie Charli xcx, Beth Gibbons, English Teacher, Ghetts und The Last Dinner Party. Barry Can’t Swim ist nun stolz darauf, neben Aphex Twin, Nia Archives, Burial, Jamie xx, Fred again.. oder Jon Hopkins als in die engere Auswahl für den prestigeträchtigen Preis gekommen zu sein - was als elektronischer Solokünstler eher seltener vorkommt. Darüber hinaus wurde er bei den BRIT Awards 2024 in der Kategorie „Dance Act“ nominiert und stand auf der Shortlist für das schottische Album des Jahres.

Schweiengötter nehmen menschliche Gestalt an und veröffentlichen ,Debütalbum"? Wenn man in einer Kleinstadt aufwächst, muss man entweder seine Freizeit kreativ gestalten oder man radikalisiert sich im Internet. Über dem San Fernando Valley von Los Angeles erhebt sich der süße, schwüle Sound von The Toxhards. Mit halb Psych, halb Prog, halb Rocktheater und halb Indie (das sind vier Hälften) hauchen The Toxhards dem längst obsoleten Genre des ROCK 'n' Roll neues Leben ein. Von ,existenziellen Doom-Bops" bis zu mitreißenden Hymnen über Schweinegötter, bieten The Toxhards einen genreübergreifenden, elektrischen und exzentrischen neuen alternativen Sound. Ihre Musik wird bereits auf TikTok Reels millionenfach angeklickt, ihre unterhaltsamen Bits und Sketche millionenfach geschaut (135k Follower auf TikTok, 75k Follower auf Instagram und 13k auf YouTube). Im Laufe der zwölf Tracks plus vier Zwischenspielen folgt ,Your Neighborhood" dem Protagonisten Adam und seiner Unzufriedenheit mit dem Leben - er hat Freundin verloren, ihm fehlt der Mut, seinen Ambitionen zu folgen - und er beginnt, die schlimmste Version seiner selbst zu werden, die er nur sein kann: ein unsicheres, reaktionäres Individuum, das Trost darin findet, sich in dunklen Online-Ecken über ,andere" zu beschweren. Ursprünglich aus dem Midwestern, nun in der smoggefüllten Höllenlandschaft des San Fernando Valley von Los Angeles lebend, ist die Band auch für ihre unterhaltsamen und mitreißenden Live-Auftritte bekannt, bei denen sie aufblasbare Schweinekostüme tragen, T-Shirts verschenken, unveröffentlichte Songs präsentieren, Kaffeepausen einlegen, Instrumente tauschen und gelegentlich einer ausgedehnten Jam (oder zwei oder drei oder...) fröhnen. Mit jeder neuen Veröffentlichung und bei jeder Show beweisen sie, dass sie die Zukunft von was auch immer sind. The Toxhards haben uns viel zu erzählen und zu bieten. 2023 bei Hopeless Records unterschrieben und direkt ihre erste Single "(The) Coffee Song / October" veröffentlicht.2024 gab's die limitierte und aktuell ausverkaufte Vinyl-Compilation ihrer bisherigen Songs und Singles zwischen 2022 und 2024. Obwohl es sich um eine Zusammenstellung handelt, betrachtet die Band es als ihr "eigentliches Debütalbum", aber nun ist "Your Neighborhood" dran! Für Fans von Ween, Car Seat Headrest, White Reaper, Pigeons Playing Ping Pong, symphonischen Weezer, Indie-Prog, Alterntive Pomp, Psychpunk....

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

Recorded live in one session at age 18, this album helped launch Tania Maria's career as an acclaimed Brazilian jazz artist, celebrated for her virtuoso combination of piano and vocals. Produced by Romeo Nunes (Meirelles e Os Copa 5, Rio 65 Trio, Elis Regina, Elza Soares), the album features the pioneering Edison Machado, who transformed samba and was instrumental in the development of Bossa Nova through his groundbreaking "samba no prato" (samba on the cymbals) technique. His work helped shape the sounds of Jobim, Getz, and Milton Nascimento. On guitar is the legendary Neco, who played on over 500 albums. Initially self-taught, he later studied under maestros Guerra Peixe and Moacir Santos. He collaborated with icons like Elis Regina and Chico Buarque, and was a member of Os Ipanemas, Os Catedráticos, and Os Gatos. His solo work includes Velvet Bossa Nova (1966), which became an acid jazz favorite. The album features compositions by Caetano Veloso and Marcos Valle,alongside early samba classics.

Blending Brazilian rhythms with elements of samba, bossanova, and jazz fusion,it captures the early development of Tania Maria's signature style. Born in São Luís, Brazil in 1948,Tania Maria began playing piano at age seven. She learned samba, jazz, and chorinho through her father's weekend jam sessions. Leading her own band by age13, she performed across the region while collecting records from influential artists. Though she earned a law degree and started a family,her passion for musicu ltimately won out—she left law to pursue music full-time.

Das Debütalbum von Leroi Conroy, das zu gleichen Teilen von der Sensibilität des goldenen Hip-Hop-Zeitalters und verlorenen Filmszenen aus den 60er und 70er Jahren geprägt ist, wiegt schwer und hat Jahre der Entwicklung hinter sich. Die ersten beiden Tracks des Albums wurden 2017 als 45er veröffentlicht und in den folgenden Jahren von DJ Premier, Raekwon, Ghostface Killah, Macklemore, Phantogram und vielen anderen gesampelt. Aber nach der Veröffentlichung verbrachte Terry Cole alias Leroi Conroy einen Großteil seiner Zeit damit, sein Indie-Soul-Label Colemine Records zu vergrößern und Platten für andere zu produzieren (Okonski, Parlor Greens, Wesley Bright, BlackMarket Brass, Kendra Morris, Rudy De Anda, Delvon Lamarr Organ Trio, Andrew Gabbard), anstatt seine eigenen zu machen. Jetzt, acht Jahre nachdem viele der Rhythmustracks auf dem bewährten Tascam 388 aufgenommen wurden, erscheint Leroi Conroys Debüt-LP, "A Tiger's Tale". Das Album ist als hypothetischer Soundtrack zu einer alternativen Erzählung von Rudyard Kiplings The Jungle Book konzipiert. Die Erzählung ist das Bestreben des Menschen, die Natur zu zähmen und sie seinem Willen zu unterwerfen... und die Antwort der Natur. Das Album ist eine Mischung aus triumphalen Instrumentalpartituren und absolut düsteren, dunklen und manchmal dissonanten Moodytracks. Das zugrundeliegende Element der Hip-Hop-Sample-Kultur ist durchweg offensichtlich, und es besteht kein Zweifel, dass viele dieser Tracks in den kommenden Jahren geflippt werden. Klanglich reiht sich die Platte nahtlos in die Reihe vieler anderer Colemine Instrumentalisten ein: dreckige Lo-Fi-Drums, schmetternde Bläser, Wah-Gitarre, Hammond-Orgel und jede Menge cineastische Einsprengsel wie Flöte, Nylongitarre und Vibraphon. Das Schlagzeug stammt von Coles langjährigem Mitarbeiter Rob Houk und ist das Rückgrat des Albums. Und mit einigen Beiträgen der Colemine-Künstler Kelly Finnigan und Jimmy James ist die Platte wirklich eine Familienangelegenheit. File Under: To Be Sampled.

+ 7 tracks for the first time on vinyl
* 5 tracks previously unreleased

- Following on from the success of the 2024 editions of The Age of Consent and the incredible viral activity for 'Smalltown Boy', London Records follow up with Forbidden Fruit - a remix compendium to The Age of Consent. Similarly to 1995's Hundreds and Thousands album, The Age of Consent has been re-interpolated to create a new remix album - traversing Hi-NRG, House, Italo Disco and more - while working together as a cohesive listening experience.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

After a five-year hiatus, Times Are Ruff is back, recharged and inspired. This return marks a renewed commitment to the underground, bringing that ruff sound.

The label returns to the wax with the sound they are known for, defined by dusty grooves, ruff rhythms and soulful moods.

This record is for the heads. A proper blend of funk, acid, late-night vibes and early morning moods, that keep the floor moving and the soul intact. Pure, stripped-back house music for those who know.

Times Are Ruff—back in the game, staying true to the craft, and ready to deliver more underground cuts.

Basile de Suresnes' "So Good" EP is now available on vinyl. The digital release has become an instant hit, with the title track being playlisted by Laurent Garnier on his Fabric mix. The 2 tracks and its remix are now expected to fly off the shelf at record stores, don't sleep on this one!


The title track proves once again that the parisian producer is a master at bringing a disco cut into House music territory. The epic violin sample gets straight into the head while the groovy bassline call the feet to dance, the vocal adding a pinch of sexiness this great, dancefloor-orientated tune.
« Ask me to dance » is as catchy as it is funky, the samples are layered and filtered with flair and savoir-faire. It certainly will become both a DJ’s delight and dancer’s favorite.

Closing the EP with style is Naux’ remix of « So Good » : the lyon based producer uses chopped vocals and a strong bouncy bassline, adding his own flavor to the track while completely respecting the orginal work. Great job.
Frappé and Basile de Suresnes Strike again and dam it is (so) good !

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

Harmonies so thick you could build a city on them. A supercut of the very best of 90s R&B, soul and gospel. Show-stopping vocals straight out of the gate. Your new pick-me-up that's got heart, bump and groove in all the right places. Praise be to our ears, RISSA has truly arrived.

Nach 6 jähriger Pause ist die Rockband Heisskalt wieder zurück. Dass die Fans das sehnsüchtig erwartet haben, merkt man nicht nur an den
Streamingzahlen, die in 6 Jahren Inaktivität beständig hoch waren, sondern auch an der kürzlichen Ankündigung der ersten Tour, die innerhalb
kürzester Zeit zu großen Teilen ausverkauft war und hochverlegt wurde.
Die Single "Wasser, Luft und Licht", mit der Heisskalt ihr kommendes Album "Vom Tun und Lassen" ankündigen, lässt keine Fragen offen und lädt mit
großem Ohrwurm-Potenzial direkt zum Tanzen ein. Doch wie es typisch ist für die Band, die zu den einflussreichten der letzten 10 Jahre im Deutschen
Band-Markt gehört, steckt dahinter auch eine tiefere Message:
"Es geht um einen Prozess des sich Gewahr werdens, dass alles irgendwie doch eins ist, auch wenn es für uns einfacher scheint, zu trennen und
voneinander zu unterscheiden. Wir atmen alle die selbe Atmosphäre, trinken das selbe Wasser, wärmen uns am selben Licht. Wenn wir uns als Teil
dessen erkennen, dann ist das ganz schön friedlich. Und es braucht Frieden."

This is their first new album in almost two years, which is rather short considering the time it took them to prove this theorem.
The songs coexist with a vast amount of musical information, including funk, hip-hop, hard rock, gospel, southern rock, and electronica, and sound open in all directions.

Noda's talent is astonishing, but at the same time, he also uses the metaphor of word play to poke at the truth. Noda's sensitive gaze toward
love and life, which exist side by side with despair, nihilism, and death, cannot be faulted in a work that carefully and skillfully translates such detailed sensitivities into sound. It is an unquestionable masterpiece.

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine"s "One Hundred Records That Set The World On Fire" list. "Cluster II" is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

The album opens with "Hypnagogia," an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band's choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden's melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker "Hold My Hand," where verses reminiscent of Velvet Underground's "I'm Waiting For The Man" explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children's choir chanting the album's primary mantra "under the spell of joy / under the spell of love." Death Valley Girls have always vacillated between lightness and darkness, and on "Bliss Out" they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on "The Universe," where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you're looking for transcendental rock music, look no further.

A Study of Losses", das siebte Studioalbum von Beirut, ist eine Odyssee mit 18 Tracks. Das Projekt entstand im Frühjahr 2023, als Viktoria Dalborg, Direktorin des schwedischen Zirkus Kompani Giraff, Condon fragte, ob er Interesse hätte, die Musik für ihr nächstes Projekt zu liefern, eine Show, die auf einer Adaption eines Romans der deutschen Autorin Judith Schalansky basiert. Die Hauptthemen in Schalanskys Buch "Verzeichnis einiger Verluste" und in der Adaption für die Zirkusshow befassen sich mit dem Konzept des Verlusts und der Vergänglichkeit von allem, was uns bekannt ist: von ausgestorbenen Tierarten, verlorenen architektonischen und literarischen Schätzen bis hin zu abstrakteren Konzepten des Verlusts durch den Prozess des Alterns. "A Study of Losses" reist durch elf Songs und sieben erweiterte instrumentale Themen, die nach den Mondmeeren benannt und von der erschreckenden Geschichte eines Mannes inspiriert sind, der davon besessen ist, alle verlorenen Gedanken und Schöpfungen der Menschheit zu archivieren. Musikalisch jedoch taucht er wieder in Chorgesang, Renaissance und andere Stile ein, die seine frühe Arbeiten inspiriert haben, sowie in Variationen von Klängen und Ideen, die sich auf eine seiner Lieblingsplatten, "69 Love Songs" von The Magnetic Fields, beziehen. Mit einer Länge von fast einer Stunde ist es das bei weitem umfangreichste Album, das Beirut je gemacht hat, und es gehört fraglos zu Condons bisher schönsten Arbeiten. "A Study of Losses" ist das zweite neue Beirut-Album innerhalb von nur zwei Jahren und die Fortsetzung eines weiteren, charakteristisch produktiven Kapitels für Zach Condon. Nach einem halben Jahrzehnt, das er damit verbrachte, sich von hartnäckigen Halsproblemen und einem drohenden mentalen Zusammenbruch zu erholen - was ihn daran zweifeln ließ, ob er jemals wieder vor Publikum auftreten würde - folgt "A Study of Losses" auf "Hadsel", das "einen neuen Anfang für Beirut" markierte, lobte Pitchfork und nannte es "eine aus Verzweiflung und Einsamkeit geborene Platte, die sich dennoch voller Leben anfühlt". Während sich "Hadsel" um eine gewaltige, antike Kirchenorgel drehte, die Condon während eines dunklen arktischen Winters in Nordnorwegen entdeckte, wird "A Study of Losses" durch Streichquartette und Arrangements der Cellistin und "No No No"-Mitarbeiterin Clarice Jensen aufgehellt. Geschrieben und aufgenommen von Zach Condon in Berlin (DE) und Stokmarknes (NO), wobei die Wurzeln des Albums in Schweden und Deutschland liegen, erweitert "A Study of Losses" auch die weite Welt, die er durch die Musik von Beirut aufgebaut hat, seit er das Projekt als neugieriger und umherziehender 14-Jähriger begonnen hat. "Als ich zum ersten Mal angesprochen wurde, einen Soundtrack für einen Zirkus zu schreiben, kam zunächst ein gewisses Trauma der 'Elephant Gun'-Ära hoch", erklärt Condon, als er Ende 2024 ,Caspian Tiger' von "A Study of Losses" vorstellt. "Ich war jahrelang in eine Schublade gesteckt worden, in der ich ein skurriles Zirkuskind war, voller sepiafarbener Bilder von Groschenromanen und vielleicht Löwendompteuren mit Schnurrbärten. Es hätte nicht weiter davon entfernt sein können, wie ich mir die Musik vorstellte, die ich machte. Es ist also eine Ironie, dass ich das Projekt von Kompani Giraff so verlockend fand."

Born and raised in small Texas towns, the members of Good Looks met and began playing together in Austin. Songwriter Tyler Jordan grew up in a South Texas coastal town dominated by the petrochemical industry, his childhood steeped in the tension between nature and industry, exploitation abundantly present and the wealth gap on full display. His father's church, described by Tyler as "cult-like in its intensity," was homebase and where he learned to sing. Tyler eventually met lead guitarist Jake Ames in the late-night song-swap circles of the Kerrville Folk Festival campground (where they would also meet Buck Meek and Adrienne Lenker pre-Big Thief). They shared their mutual love of the Texas hill country canon (Blaze Foley, Townes Van Zandt, and Willie Nelson), a love of cheap diner food, thrift store baseball caps, and a healthy dose of harmless shit-talking. They began playing in bands together, backing up other songwriters and taking turns in the spotlight. They sought out producer Dan Duszynski (Loma, RF Shannon, Jess Williamson) to engineer their debut album. What would form was Good Looks, a blue-collar political indie-rock band with healthy doses of Replacements swagger and shimmering, desert rock riffs not unlike The War On Drugs.

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Whitechapel - A New Era of Corruption (2010)15 Jahre - das kraftvolle dritte Album der US-Deathcore-PioniereMit A New Era of Corruption veröffentlichte Whitechapel im Jahr 2010 ihr drittes Studioalbum - ein zentraler Meilenstein in der Entwicklung der Band und ein fester Bestandteil der modernen Deathcore-Geschichte.Das Album markiert eine dunklere, intensivere Phase im Sound der Band. Technisch versierte Gitarrenarbeit, tiefgestimmte Riffs und eine durchgehend aggressive Atmosphäre prägen das Gesamtbild. Sänger Phil Bozeman überzeugt mit brutalem, aber kontrolliertem Gesang, der zwischen Growls und Screams kraftvoll variiert.Im Vergleich zu den Vorgängern geht A New Era of Corruption stärker in Richtung Groove und strukturierterem Songwriting, ohne an Härte zu verlieren. Mit Gastauftritten von Vincent Bennett (The Acacia Strain) und Chino Moreno (Deftones) wird das Klangspektrum zusätzlich erweitert.Ein Album für Fans kompromissloser Härte, das auch 15 Jahre nach Veröffentlichung nichts von seiner Durchschlagskraft eingebüßt hat.

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it.

Amy Macdonald hat großen internationalen Erfolg erzielt, indem sie konsequent ihren eigenen Weg geht.
Welttourneen vor 5 Millionen Menschen, über eine Milliarde Streams, fünf Top-5-Studioalben in ganz
Europa, darunter zwei Nr. 1-Hits in Großbritannien und drei in Deutschland, sechs Millionen verkaufte Alben
und der bahnbrechende Hit „This Is The Life“, der in zehn Ländern die Charts anführte und 2023 ein virales
TikTok-Comeback erlebte, bei dem Hunderttausende von Kreationen sie einem neuen Publikum zugänglich
machten. Sie hat ihren Ruf als weibliche Springsteen mit generationsübergreifender und internationaler
Anziehungskraft gefestigt.

Über Jahrzehnte hinweg erwarb sich George Harrison den Ruf eines der rätselhaftesten und kreativsten
Rock’n’Roll-Menschen. Wie bei jedem ehemaligen Beatle wurde Georges Loslösung von der Band durch
die anhaltende und manchmal obsessive Liebe der Welt zu den Beatles als eigenständiger Einheit gebremst.
Doch wie die Veröffentlichung seines epischen Albums „All Things Must Pass“ im Jahr 1970 zeigte, war
er ein Mann mit einer ganz eigenen Geschichte. Songs wie „My Sweet Lord“ und „What Is Life“ fanden
Eingang in eine umfangreiche Sammlung, die bis heute zu den großen Werken der Album-Ära zählt. Heute
erinnert man sich an George als jemanden, der seinen Leidenschaften bis zu bemerkenswerten Schlussfolgerungen folgte, als einen Mann der Widersprüche, dessen ungewöhnliche Balance aus spiritueller Hingabe,
trockenem Humor und echtem Mitgefühl das Leben vieler Menschen berührte.

The Kinks kündigen den dritten und letzten Teil ihrer ganz besonderen Anthologie-Reihe an: „The Journey
– Part 3“.
„Part 3“ behandelt ihre transformative RCA/Arista-Zeit von 1977 bis 1984, eine Zeit, in der die Band
endgültig in Amerika durchbrach, ihre legendären Pop- und Experimentalphasen hinter sich ließ und zu
einem frischen und prägnanten Stil des klassischen Songwritings zurückkehrte, der von ihrem eigenen,
ausgeprägten britischen Selbstverständnis zeugt.
CD 1 / LP 1 enthält Klassiker und Hits aus dieser Zeit, persönlich von der Band ausgewählt und von den
Original-Sampler- und Produktionsbändern remastert, darunter „Come Dancing“, „Destroyer“ und „Living
On A Thin Line“.
CD 2 / LP 2 enthält bisher unveröffentlichte Aufnahmen des Hit-reichen Auftritts der Band in der Royal
Albert Hall im Juli 1993, darunter fesselnde Interpretationen von „You Really Got Me“ und „Till The End
of the Day“ und vielen anderen.
Sowohl unsere 180-g-Doppel-LP als auch die Doppel-CD enthalten Track-by-Track-Kommentare der Band
sowie neue Linernotes von Phil Alexander.

Nach drei triumphalen, ausverkauften Konzerten im legendären Londoner Hammersmith Apollo im vergangenen Jahr haben die Teskey Brothers ihr neues Album „Live At The Hammersmith Apollo“ angekündigt –
es erscheint am Freitag, den 11. Juli, und ist ab sofort vorbestellbar. Das Live-Album ist eine umfassende
Erweiterung des umfangreichen und beliebten Katalogs der Band und enthält Songs aus ihrem dritten Album „The Winding Way“, das auf Platz 1 der ARIA-Charts landete, ein kraftvolles Cover von Otis Reddings
„Try A Little Tenderness“ (ab heute überall erhältlich) und erstmals auf Vinyl/CD einen ihrer frühen Hits,
„Forever You and Me“ (über 150 Millionen Streams).
„Live At The Hammersmith Apollo“ wird im Anschluss an ihren Auftritt im Londoner Alexandra Palace
vor über 10.000 Fans (dem bisher größten Auftritt) am Donnerstag, den 10. Juli 2025, veröffentlicht.
Ganz im Sinne der Liebe der Band zum Analogen wurde „Live At The Hammersmith Apollo“ vollständig
auf Band aufgenommen, genau wie Livealben von Bruce Springsteen (’75), David Bowie (Ziggy Stardust ’73) und zahllosen anderen im selben Raum aufgenommen worden wären. Der in London ansässige
Produzent/Toningenieur Declan Gaffney wurde mit der technischen Seite beauftragt, nachdem er zuvor
Livealben für U2 und die Rolling Stones produziert und gemischt hatte.

Die Gruppe, die es so nicht noch einmal gibt, eure Lieblings-Girlgroup TWICE, ist zurück mit ihrem 4.
Studioalbum mit dem Titel ”THIS IS FOR”!
Für die Girl Group ist „THIS IS FOR“ ein Jubiläums-Album für ihren 10. Geburtstag für TWICE and ONCE.
Die „THIS“, „IS“ und „FOR“ Version beinhaltet: CD, Fotobuch, PVC-Cover, gefaltetes Poster (1 von 9), Umschlag, Mini-Papierständer (1 von 9), Fotokarte (5 von 45), Lyric Poster, Fotokartenset und Poster.
Maße: 285 x 220 x 16,5 mm.
Die „CONFETTI“ Version beinhaltet: Mini-CD, CD-Halter, Mini-Buch (164 Seiten), Outbox, Fotokarte (1
von 9), Schlüsselanhänger, gefaltetes Poster, Aufkleber (3 Stück), Lyric Buch (28 Seiten).
Maße: 100 x 100 x 50 mm.
Die „DIGIPACK“ Version ist spezifisch für jedes Bandmitglied und beinhaltet: CD, Cover, Fotobuch (36
Seiten), Fotokarte (1 von 9), gefaltetes Poster, Aufkleber (1 von 9), Fotokarte (1 von 9) und Mini-Postkarte
(1 von 9).
Maße: 125 x 140 x 7 mm.
Außerdem ist das Album auch als Vinyl erhältlich. Die Vinyl Version beinhaltet eine exklusive DrachenfruchtGlitzer-Vinyl, exklusive Gatefold-Jacket, bedruckte Innenhülle, Poster (30,5cm x 61cm), „THIS IS FOR“-
Schablone, exklusive Fotokarte.

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

Random Colored Edition, Limitiert. Love A ist etwas Bemerkenswertes gelungen: Das, was ihr Debüt "Eigentlich" auszeichnet, haben sie sich bewahrt. Die volle Faust auf die Zwölf, diese unmittelbare und schnörkellose Konfrontation, das Getriebensein durch ein Leben, das mehr Fragen aufwirft als es Antworten anbietet, dem Scheitern immer näher als dem Gelingen. Stefans Gitarre, die ganz untypisch für Punk völlig unverzerrt daherkommt und Jörkks latente Hysterie über allem.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

Originally released in 1981 ‘Carry On Oi!!’ hit No.4 in the Independent Chart.
It “introduced” the likes of The Business, The Partisans, Blitz, Red Alert and The Ejected alongside ‘veterans’ such as The 4 Skins and Infa Riot

Now re-issued on vinyl complete with a gatefold sleeve and original inner bag, Previous vinyl re-issues of ‘Oi! The Album’ (AHOYLP 72)
and ‘Strength Thru Oi!’ (AHOYLP 230) have all proved strong sellers and we expect ‘Carry On Oi!’ to do the same.

IMPROX - Starlit Rebellion is the compilation of the previous 3 IMPROX vinyl releases. The physical release comes as a deluxe gatefold sleeve with a sci-fi techno comic inside which tells the story of Hacoki, Cohaki, Ferce and Lely and their battle for Eridania.
Starlit Rebellion is an adventurous ride through industrial tinged sci-fi electronics, covering ambient, bass music, drum & bass, electro, IDM, industrial and techno, all on the unusual and experimental side of the spectrum. IMPROX is a full on DIY project with a free spirit where no boundaries exist, just pure freedom in artistic expression. Call it leftfield techno?
All music made by Delta Funktionen & Napirelly. Comic written and designed by Niels Luinenburg.

On 2018’s “Folk”, New Orleans songwriter and singer Sabine McCalla presents her own interpretation of grass-roots southern music. Combining elements of jazz, country blues, calypso, New Orleans R&B and Haitian creole compas, Sabine spins stories of heartbreak and hope through intimate arrangements and honest inflections. Recorded by Sam Doores (the Deslondes) and Duff Thompson (Mashed Potato Records), “Folk” exposes Sabine’s love of laments and folk spirituals, her penchant for simple truths and her interest in divining fundamental wisdom about love and loss from a small tangle of words. Commanding in its simplicity, with most songs sung a capella or with minimal guitar or vocal accompaniment, the EP’s five songs tell the stories of lost souls and broken hearts, embedded with painful truths that come to us calmly, the ones that are physically and psychically impossible to ignore.

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer remain. Marc Greilsamer.

Poor Creature is comprised of Ruth Clinton, Cormac MacDiarmada and John Dermody, all three are members of other bands (Landless and Lankum respectively) who have built a large following on re-interpreting songs from the past Songs that have existed for centuries can seem immutable and anchored to time. A new generation of Irish musicians are keen to acknowledge that musical legacy, while reimagining the songs within a contemporary context. Poor Creature's sound - particularly in the context of contemporary Irish folk - offers something unique. There's the gauzy, underwater, almost psychedelic seams of 'Bury Me Not' and 'Adieu Lovely Erin'. 'All Smiles Tonight' and 'Hicks' Farewell' nod to the influence of American folk/bluegrass acts like Doc Watson and the Louvin Brothers. These shifting sounds are made possible by producer John 'Spud' Murphy, who has produced all of Lankum's albums, and worked with Junior Brother, OXN, Pretty Happy, Ye Vagabonds as as well as the final two albums by The Jimmy Cake, with whom John has played for over 20 years. "There's something about the everyday and the fantastical, being entangled, which I think Irish music does so well." This also sums up All Smiles Tonight, moving through stories and loss and history to create an otherworldly and timeless album for the ages.

Das Debütalbum von Leroi Conroy, das zu gleichen Teilen von der Sensibilität des goldenen Hip-Hop-Zeitalters und verlorenen Filmszenen aus den 60er und 70er Jahren geprägt ist, wiegt schwer und hat Jahre der Entwicklung hinter sich. Die ersten beiden Tracks des Albums wurden 2017 als 45er veröffentlicht und in den folgenden Jahren von DJ Premier, Raekwon, Ghostface Killah, Macklemore, Phantogram und vielen anderen gesampelt. Aber nach der Veröffentlichung verbrachte Terry Cole alias Leroi Conroy einen Großteil seiner Zeit damit, sein Indie-Soul-Label Colemine Records zu vergrößern und Platten für andere zu produzieren (Okonski, Parlor Greens, Wesley Bright, BlackMarket Brass, Kendra Morris, Rudy De Anda, Delvon Lamarr Organ Trio, Andrew Gabbard), anstatt seine eigenen zu machen. Jetzt, acht Jahre nachdem viele der Rhythmustracks auf dem bewährten Tascam 388 aufgenommen wurden, erscheint Leroi Conroys Debüt-LP, "A Tiger's Tale". Das Album ist als hypothetischer Soundtrack zu einer alternativen Erzählung von Rudyard Kiplings The Jungle Book konzipiert. Die Erzählung ist das Bestreben des Menschen, die Natur zu zähmen und sie seinem Willen zu unterwerfen... und die Antwort der Natur. Das Album ist eine Mischung aus triumphalen Instrumentalpartituren und absolut düsteren, dunklen und manchmal dissonanten Moodytracks. Das zugrundeliegende Element der Hip-Hop-Sample-Kultur ist durchweg offensichtlich, und es besteht kein Zweifel, dass viele dieser Tracks in den kommenden Jahren geflippt werden. Klanglich reiht sich die Platte nahtlos in die Reihe vieler anderer Colemine Instrumentalisten ein: dreckige Lo-Fi-Drums, schmetternde Bläser, Wah-Gitarre, Hammond-Orgel und jede Menge cineastische Einsprengsel wie Flöte, Nylongitarre und Vibraphon. Das Schlagzeug stammt von Coles langjährigem Mitarbeiter Rob Houk und ist das Rückgrat des Albums. Und mit einigen Beiträgen der Colemine-Künstler Kelly Finnigan und Jimmy James ist die Platte wirklich eine Familienangelegenheit. File Under: To Be Sampled.

This is a live album by the legendary soul singer Marvin Gaye, released in 1963 that captures the energy and charisma of Gaye's live performances during a period when he was establishing himself as one of Motown's premier artists

The album includes live renditions of some of his early hits and popular songs of the time and the live performances showcase Gaye's dynamic stage presence and his ability to connect with the audience. "Recorded Live On Stage" features a mix of upbeat tracks and soulful ballads, refecting the versatility of Gaye's vocal and musical style: it was released during a formative period in Marvin Gaye's career helped cement his reputation as a compelling live performer, which would be further solidifed with subsequent recordings. The album is considered an important document of Marvin Gaye's early career, capturing a time when he was evolving into a major star and his ability to bring a different dimension to his studio recordings through live renditions: "Recorded Live On Stage" remains a cherished album for Marvin Gaye art lovers and for those interested in the history of live soul music performances.

Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre.
Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.

A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.

Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.

Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars.

Released on Mr. Bongo (ROW) and Altafonte (Brazil).

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

The Funeral Pudding originally came out as a CD-only release on the Dutch label Brinkman to promote Thinking Fellers Union Local 282’s 1994 European tour. For the domestic release, the band chose Chicago’s Ajax Records—which had already released two TFUL282 singles in 1990—to press a 12-inch mini-LP. Comprising a selection of songs masterfully recorded and produced by Greg Freeman right after the sessions that yielded 1993’s Admonishing The Bishops EP, The Funeral Pudding could be thought of as a sister release to that EP; indeed, the band originally considered combining tracks from both sessions into a single album. Had it been released, that record would’ve followed the pattern of the previous album in which the band’s pop and avant-garde leanings are yoked together cheek by jowl. Instead, Admonishing showcases the band at its most accessible while The Funeral Pudding flaunts their more expansive, abrasive and absurdist side without forfeiting the earlier EP’s miraculously high standards for songwriting and sonic clarity. What makes The Funeral Pudding a unique feather in the Fellers’ cap is that most of the tracks are sung by bassist Anne Eickelberg and guitarist Hugh Swarts—a notable departure from the Davies / Hageman vocal dominance on most of the other albums. With Eickelberg’s soaring vocals leading the proceedings, tracks like “Waited Too Long” and “Heavy Head” are some of the most beloved in the band’s discography. And “23 Kings Crossing” is a whiplashinducing psych / prog stunner that adds another metric ton to the burden of proof demonstrating that TFUL282 was creating some of the most thrilling, enduring and sonically autonomous music of its era.

Introducing Tarde Loco, a truly exciting new artist who's got that preternatural touch - something that some people never get to, but you know it when you hear it.

Starting with some wacked out form of Speed Garage, but effortlessly moving through shades of Nu Jazz, House and more, it's a genre-defying stunner of a record from an artist who's surely got a bright future if this is anything to go by.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

Crystal Viper was founded and has been led by vocalist, bassist and guitarist Marta Gabriel. Their latest studio album 'The Silver Key' was promoted live throughout Europe via extensive touring and at major Summer festivals such as Wacken Open Air or Hellfest. While due to Marta's presence the band is very often compared to female-fronted acts, Crystal Viper's style is deeply rooted in Heavy and Power Metal forged by legends such as Iron Maiden or Judas Priest.

"Change of the Century" is the second album recorded by Ornette Coleman's quartet featuring Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums and is considered one of the essential recordings of the avant-garde jazz movement. Ornette Coleman was a revolutionary figure in jazz, known for his innovative approach to improvisation and composition. He pioneered the "free jazz" movement, which broke away from traditional jazz structures and harmonic conventions.

His music often emphasized collective improvisation and thematic development over chord changes. The album's title reflects the spirit of innovation and change that Coleman brought to the jazz world with a significant departure from the bebop and hard bop styles dominant at the time, paving the way for new directions in jazz expression. "Change of the Century" remains a timeless and influential recording that continues to inspire musicians across genres and stands as a testament to Ornette Coleman's Visionary approach to jazz: an essential listening for anyone interested in exploring the outer reaches of improvisation and creativity in jazz.

Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.

Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".

Originally issued on Hut Records in October 2002, Human Conditions built on the success of Alone With Everybody, retaining the new fans he had gained with that record - This re-issue replicates the 2002 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

"It's a beautiful world," sings Ashcroft on opening track and lead single "Check The Meaning". Its eight-minutes seem a culmination of all of Ashcroft's work to date – a haunting guitar figure, swelling strings, and subtle orchestration back a lyric that catalogues the battle of love over evil, ending with Ashcroft assuring the listener "It's gonna be alright." It is a powerful beginning to a powerful album. "Buy It In Bottles" maintains the introspection of "The Drugs Don't Work", a mood that can be also found on "Running Away" and "Lord I've Been Trying"; while "Bright Lights" and "Paradise" bring the anthemic rock.

When Brian Wilson guests on one of your albums, it suggests a certain status has been attained; Richard Ashcroft demonstrated that he could hold his own in such company; both are songwriters of the human condition, and the song Wilson appears on "Nature Is The Law", closes Human Conditions in stellar fashion.

Emerging from their subterranean recording studio The House of Vibes, The Grip Weeds have delivered a tour-de-force with Soul Bender, their ninth full-length studio album and their first newly-recorded original tracks since 2019's Trip Around The Sun. This astonishing record finds the band pushing their recording, arranging and songwriting skills into new and evocative territory. On Soul Bender, The Grip Weeds continue to expand: Musical and sonic experimentation abounds, resulting in a record that is bigger and more dramatic than ever; melodically inventive, yet accessible with lyrical imagery and hooks firing at you from all directions. Most impressive of all is that The Grip Weeds are entirely self-contained: From production, engineering, mixing and artwork, Soul Bender represents a complete and total vision of intent. If you like the fearless bold intensity of rock from the classic era yet reimagined for the 21st Century, Soul Bender is for you. Heard on Sirius XM's The Underground Garage, The Beatles Channel and indie/commercial radio worldwide.

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Support from: Dino Lenny, Sabo, 1979, Alex Neri, Cioz, Just Her, Lonya, Hyenah, Nhar, Don Diablo, Luke Garcia, Underspreche, Francesco Chiocci, Adriatique

Undiscovered Recordings is a London- and Naples-based independent record label founded in 1994. Showcasing new and exciting production talent, Undiscovered was founded by a crack team of music industry experts, the two Angelos, Doug and Mario, in the midst of the dance music movement of the 1990s.

The Angelos met while working at UMM and Flying Records. Founding Undiscovered allowed them to move
away from the traditional dance music of the time and to highlight lesser-known artists and styles. Angelo
Tardio, in-house A&R, capitalised on his trail-blazing career as a DJ, as the founder of iconic label U.M.M., and his production career as Kwanzaa Posse, where he collaborated with huge talents such as Mano Negra, Manu Chao, King Chango, MC Solaar and Les Negresses Vertes, to name just a few. Doug Osborne, British DJ & Producer and co-founder. Angelo Bernardo brought his years of experience in the music industry to take over the business side of the company, and Mario Nicoletti came on board as a true living musical encyclopaedia and expert. Alberto Faggiana joined in 1998 to contribute his industry know-how to curate the legal and administrative aspects. And so the Undiscovered team was complete.

Undiscovered has since moved with the times, from classic dance genres into Balearic chill-out, all the while
maintaining its goals to showcase emerging producers and artists. After a long hiatus, and following a number of forced changes in the company, Undiscovered are back in full force. Kwanzaa Posse achieved success back in the 90's with such hits as "Wicked Funk", "African Vibrations" and "Musika!", all of which attracted collaborations with remixes by Massive Attack, Jam & Spoon, and Ralph Falcon & Oscar Gaetan - aka Murk Boys. Now the production unit responsible for such seminal tracks is back with a magical new track called 'Mali Chant'.

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original hybrid broken-techno/electro Cyborg Samba with five formidable remixes by Umwelt, SOD-90, Jerome Hill, Kim Cosmik and Serge Geyzel. Expect everything from tough electro, to industrial breakbeat, old-school breakbeat, fast-paced IDM breaks and robo-funk to wrap up a truly diverse ep. This is part one of a three part series coming this year from GAMADON with remixes from some of the best in the business.

Mancunian-based record shop Haunted Dancehall is happy to reveal the first addition to its new label: Would You Kindly, a four tracks EP by rising talent Jibz, crafted in his Parisian home studio and designed for (haunted) dancefloors.

Digging into techno, electro and progressive territories, Would You Kindly kicks off with Flat Pillow, a dancefloor-tailored track with evolving drum patterns, thick basslines and a definitive haunting feel. Then, Inari offers relentless rythms along with energy-loaded synths, reminding us that the whole EP was first thought as a live jam.

On the flip side, Lane Gank gifts us with broken beats rythms and spatial soundscapes to take us in a videogame-like trip. Finally, the EP closes on Anaphylaxis, blending numerous influences to wreck clubs and festivals, and acting as a keepsake of the contagious energy of the whole release.

Step back into one of the most exciting years in pop history – a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 43 massive tracks across a 3-LP set pressed on gorgeous green vinyl.

LP1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, ‘Older’, before Natalie Imbruglia's huge debut single ‘Torn’. The Cardigans had a #2 smash with ‘Lovefool’ and Hanson hit the US & UK #1 with ‘MMMBop’. ‘Barbie Girl’ from Aqua and the Spice Girls’ anthemic ‘Spice Up Your Life’ were both #1s, and Boyzone’s ‘Picture Of You’ was a huge hit and featured in the film ‘Bean: The Ultimate Disaster Movie’. Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with ‘Love Shine A Light’ close the first side…while over on the other, a second George Michael classic from his ‘Older’ album, the beautiful ‘You Have Been Loved’, opens ahead of another contemporary masterpiece ‘Secret Garden’ from Bruce Springsteen. Texas scored a UK top 5 with ‘Say What You Want’, and Sheryl Crow had a top 10 hit with ‘A Change Would Do You Good’. Paul McCartney’s ‘Young Boy’ is next before ‘Ready To Go’ which gave Republica a Top 20 chart debut, and closing the first LP, Robbie Williams’ ‘Old Before I Die’, which became his second smash as a solo artist.



LP2 kicks off with Radiohead’s defining ‘Paranoid Android’, ahead of Kula Shaker’s hit cover of ‘Hush’, and alt-pop from Embrace (‘All You Good Good People’), The Charlatans (‘North Country Boy’) and The Seahorses (‘Love Is The Law’) before the side closes with Oasis’s huge #1 ‘D’You Know What I Mean?’ – the lead single from their third album ‘Be Here Now’… Flip the LP over and discover some of 1997’s dancefloor gold – opening with the club juggernaut and #1 ‘Professional Widow’ from Tori Amos, remixed for single release by Armand Van Helden, along with Olive’s UK #1 ‘You’re Not Alone’ and the huge ’97 ‘Now Voyager’ remix of ‘You Got The Love’ from The Source feat. Candi Staton. En Vogue’s powerful ‘Don’t Let Go (Love)’ is up next, ahead of ‘I Wanna Be The Only One’, a #1 for Eternal feat. Bebe Winans. LP2 finishes with pure pop gems from 911 with ‘Bodyshakin’, Backstreet Boys with ‘Everybody (Backstreet’s Back)’ and Steps with their debut hit ‘5, 6, 7, 8’.



The final LP opens with Pet Shop Boys’ and their brilliant version of the musical classic ‘Somewhere’, ahead of the genre-blending #1 ‘Your Woman’ from White Town, and the atmospheric ‘Out Of My Mind’ from Duran Duran. Suede’s plaintive ‘Saturday Night’ leads into three of the years’ electronic dance music highlights: Orbital provided the theme to the remake of ‘The Saint’, Moby with his re-imagining of the classic film-series theme: ‘James Bond Theme (Moby’s Re-Version)’ and The Chemical Brothers with the massive ’Block Rockin’ Beats’ completing the side…Turn the LP over for the final side featuring the debut from All Saints with ‘I Know Where It’s At’, and fabulous dance-pop from Whitney Houston with ‘Step By Step’, and both Ultra Naté and Dannii Minogue enjoyed euphoric hits with ‘Free’ and ‘All I Wanna Do’. Pan-European smash ‘Encore Une Fois’ from Sash! is followed by Ricky Martin’s global success ‘María’… but the final word on the collection goes to Elton John. His superb ‘Something About The Way You Look Tonight’ was one half of the biggest selling single of – not only 1997 – but of all time and ends the collection on a perfect pop high.



NOW – Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben. Die Vinylausgaben kommen im Oldschool Tip-On-Jacket mit metallischer Silberfolienprägung und einem 12-seitigen Booklet mit ausführlichen Linernotes des Gelehrten und Pianisten Thomas Feng.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben.