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Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

„Through the Haze" via Meiosis Records. Following their critically acclaimed "Echoes of Memoria" Album and “Love for One Another" EP, Ameli Paul invite to a captivating journey with an exquisite collection of diverse tracks. Effortlessly blending genres from Drum 'n' Bass, House, to Indie Dance and Psychedelic Slow-trance, they once more underline their unmistakable Ameli Paul sound: trippy and emotional.

„Through the Haze" via Meiosis Records. Following their critically acclaimed "Echoes of Memoria" Album and “Love for One Another" EP, Ameli Paul invite to a captivating journey with an exquisite collection of diverse tracks. Effortlessly blending genres from Drum 'n' Bass, House, to Indie Dance and Psychedelic Slow-trance, they once more underline their unmistakable Ameli Paul sound: trippy and emotional.

Die PBS-Serie Earth Focus befasst sich mit den komplizierten Verbindungen zwischen Südkaliforniens Naturlandschaften und städtischer Entwicklung. Jede Episode erforscht einen bestimmten Ort, darunter den Los Angeles River, das Diablo Canyon Nuclear Power Plant, Joshua Tree National Park und die Mojave Wüste. Der Soundtrack der Serie, komponiert von Elori Saxl, unterstreicht die emotionalen Erzählungen dieser Orte und betont das Zusammenspiel zwischen Menschen und der Natur sowie die Auswirkungen der vom Menschen geschaffenen Umwelt. Dabei ließ sie sich von Künstlern wie Alice Coltrane und Hiroshi Yoshimura inspirieren, Saxl hat die Musik mit digital manipulierten Aufnahmen von Wasser und Wind, analogen Synthesizern, MIDI-Samples und bearbeiteten Holzbläsern gespielt von Stuart Bogie (Klarinette, Bassklarinette, Flöte) kreiert. Diese einzigartige Mischung aus Klängen erinnert an das musikalische Erbe von Los Angeles und an die allgemeine Atmosphäre von Wind, Sonne und südkalifornischer Kultur. Die Musik bezieht sich lose auf die psychedelischen und traumhaften Klänge, die mit der Vergangenheit und Gegenwart von Los Angeles verbunden sind. Sie enthält jedoch einen modernen Twist, der reale und synthetische Elemente vermischt, um das zeitgenössische und zunehmend spürbare der von Menschenhand geschaffenen Landschaft in Los Angeles und den angrenzenden Regionen zu reflektieren.

Development is a classic rocksteady record that barely came out in 1972, Jamaica. One of the rarest of the genre, Development is impossible to find…and even when found impossible to find a good playing copy—the pressing was just flawed. Sutro Park Records is proud to present a newly remastered version of the record, available on vinyl for the first time since it originally came out (probably available for the first time anywhere outside a few record shops in Jamaica). Painstakingly remastered by the great Gary Hobish, over a two-year period of time (there are no tapes, so everything had to be sourced from the best vinyl masters), the resultant vinyl release is a revelation: a must for rocksteady fans, a must for Derrick Morgan fans…an instant classic of the genre. Derrick Morgan was and is (he is still touring) one of the legends of rocksteady music. Bringing the sound from Jamaica internationally, Derrick Morgan had the style, the sound, the songs, the music. Legend has it that his look was the inspiration for The Two-Tone man, a brand made famous by The Specials and other later-period ska mavericks whose sound was inspired by Derrick Morgan.

Repress!

Storming remix of electro pop darlings Hot Chip by Aquasky getting plays from the Stanton Warriors, Hyper, Krafty Kuts, General Midi, ... limited 1-sided pressing !!

We are pleased to announce the launch of a new series at Innervisions called “Quantum Spits”.

House music has been around for decades, and throughout its evolution, it has spawned numerous sub-genres. “Quantum Spits” aims to explore and celebrate this diversity by dedicating each release to a particular aspect of this thing we call House.
Our goal is to provide a platform for both established and up-and-coming producers to express their unique take on house music while also paying homage to the roots of the genre.

We are kicking off the series with Skatman, the Tunisian-born producer, DJ and label head. On „Rewarped“ he slams old school hip-hop samples into some raw and pumping house tracks, providing a fresh and up to date connection between these distinct musical eras to deliver six new cuts of raw concise electronic music.

“Taking familiar elements and giving them a fresh twist,” says Skatman aka Aziz Haddad.

UK Garage heat from genre originators - Karl 'Tuff Enuff' Brown and Crazy Bank

“Music for Lovers” is the new solo outing of multi-instrumentalist Samuel Rohrer (playing a combination of percussion, modular synthesizer and keyboard-based instruments on this recording).
The album’s title, which has been used for other albums in unrelated musical genres, might be deceiving: those who expect overly sentimental, fluffy pieces full of levity from start to finish, or sarcastic and cynical attempts at rejecting such “easy” listening, will be surprised by the emotional and tonal complexity on display here. In Rohrer’s own words, it is dedicated to “those brave lovers, who are ready to not only find, but eventually become truth,” and as such is an exploration of an evolving process rather than an idealized state.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Live-Album des legendären Singer/Songwriters Steve Earle:
Steve Earle ist einer der renommiertesten Singer-Songwriter seiner Generation. Als Schützling der legendären Songwriter Townes Van Zandt und Guy
Clark wurde er schnell zu einem meisterhaften Geschichtenerzähler, und seine Songs wurden von Johnny Cash, Waylon Jennings, Joan Baez, Emmylou
Harris, The Pretenders und unzähligen anderen aufgenommen. 1986 erschien sein Album Guitar Town, das bis auf Platz eins der Country-Charts
schoss und heute als Klassiker des Americana-Genres gilt. Zuletzt wurde Earles Hit Copperhead Road aus dem Jahr 1988 zum offiziellen Song des
Bundesstaates Tennessee im Jahr 2023 ernannt. Nachfolgende Veröffentlichungen wie The Revolution Starts...Now (2004), Washington Square
Serenade (2007) und TOWNES (2009) wurden mit aufeinanderfolgenden GRAMMY® Awards ausgezeichnet. Sein jüngstes Album Jerry Jeff (2022)
besteht aus Earles Versionen von Songs, die Jerry Jeff Walker, einer seiner Mentoren, geschrieben hat.
Earle hat sowohl ein Buch als auch eine Sammlung von Kurzgeschichten veröffentlicht. Earle produzierte Alben für andere Künstler wie Joan Baez (Day
After Tomorrow) und Lucinda Williams (Car Wheels on A Gravel Road).Als Schauspieler hat Earle in mehreren Filmen mitgewirkt und hatte
wiederkehrende Rollen in den HBO-Serien The Wire und Tremé. 2009 spielte Earle in dem Off-Broadway-Stück Samara mit, für das er auch die Musik
schrieb, die die New York Times als „exquisit unterschwellig“ bezeichnete. Im Jahr 2020 wurde Earle in die Nashville Songwriters Hall of Fame
aufgenommen.

a The Devil's Right Hand (Acoustic[Live])
[b] My Old Friend The Blues (Acoustic[Live])
[c] Someday (Acoustic [Live])
[d] Guitar Town (Acoustic [Live])
[e] I Ain't Ever Satisfied (Acoustic[Live])
[f] Now She's Gone (Acoustic [Live])
[g] Goodbye (Acoustic [Live])

[i] South Nashville Blues (Acoustic[Live])
[j] CCKMP (Acoustic [Live])
[k] Transcendental Blues (Acoustic[Live])
[l] It's About Blood (Acoustic [Live])
[m] Dominick St. (Acoustic [Live])
[n] The Galway Girl (Acoustic [Live])
[o] Copperhead Road (Acoustic [Live])

Wer hat Macht? Wie wird sie genutzt und ausgeübt? Und wie, verdammt noch mal, kann man sich Macht - gerade in unseren Zeiten, in denen wir uns so oft ohnmächtig fühlen - zurückholen und sich selbst ermächtigen? Mit ordentlich Wut im Bauch, rotziger Stimme, mächtig Fuzz auf der Gitarre und einer unbändigen Punk-Rock-Energie, sucht das Berliner Duo CAVA auf ihrem neuen Album "Powertrip" Antworten auf diese drängenden Fragen. Ihr Zweitwerk, das auf Buback erscheint, vereint lautstarke Messages gegen Sexismus, Klassismus und Kapitalismus mit der so wichtigen Perspektive nicht cis-männlicher Akteur*innen in der Musikindustrie. Kurzum: "Powertrip" ist eine Kampfansage an das Patriarchat und all seine schmerzhaften Begleiterscheinungen.

Here, gleaming tensile techno forms clean, straight lines while scratchy acoustic guitars scuff up edges to produce

ghostly audio. Poetry is snatched from the overhead, removed from the overheard; words borrowed from the ether are

spun into dizzying new shapes, sometimes reappearing in new settings, twisted back to front, side to side. Each track a

very different room - some soundtracked by little more than metronomic kick drum and robotic voice, others deep in

layer upon layer of melody and euphoric noise - and each room unmistakably, uniquely Underworld. The only advice

from Underworld’s Rick Smith and Karl Hyde upon entering: “Please don’t shuffle.”

Strawberry Hotel features the singles ‘and the colour red’ and ‘denver luna’, as well as new release ‘Black Poppies’ - a

celestial love song, a hymn to the universe and to boundless, positive change. Ambient and beatless, Black Poppies is

a celebration of full dancefloors and the beauty of life itself.

Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres, and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people across the globe.

Dass in den späten 60ern und frühen 70ern des vergangenen Jahrhunderts sich in der deutschen Popmusik extrem viel bewegte und viel Neues entstand, pfeifen die Spatzen mittlerweile vom Dach. Zahllose Bücher sind bereits zum Thema 'Krautrock" erschienen, und viele LPs aus dem genannten Zeitraum sind wiederveröffentlicht worden. Günter Schickert hat in den 70ern nur zwei LPs veröffentlicht: "Überfällig" (Sky Records, 1979 / Bureau B, 2012) und "Samtvogel" (Brain, 1976). Exakt 50 Jahre nach Erscheinen der LP kommt der "Samtvogel" nun zurückgeflogen. Günter Schickert benutzte für "Samtvogel" ausschließlich Gitarren, Echogeräte und eine bescheidene Aufnahmetechnik. Das Album ist eine waschechte DIY-Produktion - in jeder Hinsicht radikal und dem damaligen Zeitgeist überhaupt nicht verpflichtet Diese Radikalität war es vielleicht, die es schwierig machte, ein geeignetes Plattenlabel für eine Veröffentlichung zu interessieren. Jedenfalls brachte Schickert "Samtvogel" 1974 zunächst einmal in einer Auflage von 500 Stück selbst heraus. Erst zwei Jahre später erschien das Album in einer weitaus höheren Auflage auf Brain. "Samtvogel" ist ein besonders wichtiges Album, weil es deutlich macht, was musikalisch in den 70ern alles möglich war Kein Zweifel: Das Album ist extrem, obwohl es musikalisch und spieltechnisch von hoher Qualität ist. Aber es entspricht eben keinem der damaligen krautigen Trends; und das ist wohl auch der Grund, weshalb es im kommerziellen Sinn nie erfolgreich war. Günter Schickert war mit seinen beiden, damals zu Unrecht unterbewerteten Alben "Samtvogel" und "Überfällig" im Gesamtkonzert der experimentellen deutschen Popmusik der 70er Jahre eine bemerkenswerte Ausnahmeerscheinung. "Samtvogel" war ein Wagnis, das zwar gelang, aber vielleicht erst heute, 50 Jahre nach seiner Erstveröffentlichung so richtig geschätzt werden kann. Asmus Tietchens, 2024

Dass in den späten 60ern und frühen 70ern des vergangenen Jahrhunderts sich in der deutschen Popmusik extrem viel bewegte und viel Neues entstand, pfeifen die Spatzen mittlerweile vom Dach. Zahllose Bücher sind bereits zum Thema 'Krautrock" erschienen, und viele LPs aus dem genannten Zeitraum sind wiederveröffentlicht worden. Günter Schickert hat in den 70ern nur zwei LPs veröffentlicht: "Überfällig" (Sky Records, 1979 / Bureau B, 2012) und "Samtvogel" (Brain, 1976). Exakt 50 Jahre nach Erscheinen der LP kommt der "Samtvogel" nun zurückgeflogen. Günter Schickert benutzte für "Samtvogel" ausschließlich Gitarren, Echogeräte und eine bescheidene Aufnahmetechnik. Das Album ist eine waschechte DIY-Produktion - in jeder Hinsicht radikal und dem damaligen Zeitgeist überhaupt nicht verpflichtet Diese Radikalität war es vielleicht, die es schwierig machte, ein geeignetes Plattenlabel für eine Veröffentlichung zu interessieren. Jedenfalls brachte Schickert "Samtvogel" 1974 zunächst einmal in einer Auflage von 500 Stück selbst heraus. Erst zwei Jahre später erschien das Album in einer weitaus höheren Auflage auf Brain. "Samtvogel" ist ein besonders wichtiges Album, weil es deutlich macht, was musikalisch in den 70ern alles möglich war Kein Zweifel: Das Album ist extrem, obwohl es musikalisch und spieltechnisch von hoher Qualität ist. Aber es entspricht eben keinem der damaligen krautigen Trends; und das ist wohl auch der Grund, weshalb es im kommerziellen Sinn nie erfolgreich war. Günter Schickert war mit seinen beiden, damals zu Unrecht unterbewerteten Alben "Samtvogel" und "Überfällig" im Gesamtkonzert der experimentellen deutschen Popmusik der 70er Jahre eine bemerkenswerte Ausnahmeerscheinung. "Samtvogel" war ein Wagnis, das zwar gelang, aber vielleicht erst heute, 50 Jahre nach seiner Erstveröffentlichung so richtig geschätzt werden kann. Asmus Tietchens, 2024

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we loved listening to their self-released debut album Trouble In The Shed so much we eventually released it on vinyl for the first time. They now have a second album! Vocalist/drummer Peter very kindly talks us through the (train) tracks_ * "The Trainspotting Song" - Now, as a train geek, I go out filming trains an awful lot, and one thing you can't help noticing whilst out in the wilds of Staffordshire or the moors of Lancashire are a whole load of unnecessary 'Private Land' signs. This song is my response_ * "The Talyllyn Railway" - The history of the Talyllyn Railway is a fascinating one that I've long since wanted to explore, due to its unique nature as the first railway to ever be taken over by volunteers. This is the result! * "The Middleton Railway" - As a volunteer at the Middleton Railway, I had felt that a song needed to be written for quite a while. However, our guitarist Michael, ended up beating me to it! * "A Model World" - It was late one night, and I was lying on my sofa, trying my hardest to gain an ounce of enjoyment from 'Hornby; A Model World.' It was proving quite hard, due to the alarming lack of substance in the programme, so instead I decided that its name was rather good, and could be the basis of a song explaining my 'model world.' And, well, here it is! * "The Fifth Black Five" - This song is dedicated to the railway preservationists of old, who spent countless hours in cold, damp, dreary sidings, all to make sure us future generations would be able to enjoy the smell of a steam train. Thanks guys! * "Case Study" - This song is a commentary on the sensationalisation of disasters, when there's a massive tragedy and people at home just sit in their comfy sofas, watching the news and drinking tea. We know what's going on, but we can just choose to turn off the TV and forget it ever happened and continue with our lives. It also relates to the dehumanisation of those disasters you experience in school, where you have to write essays on someone who's just become homeless. It seems quite heartless sometimes_ * "Loco Motives" - This song is a fictional story of a man's personal struggle with a railway company, and the drastic measures he took to fix them_ * "That Would Never Suit His Grace" - With model railways, you always seem to get a few people who can never be satisfied with a layout or a model - no matter how hard someone's tried, there's always something to improve on, and they're never nice about it either. This song is a reality check for them_ * "Small Black Shunter" - This is our second homage to Zounds - Electrification would never be truly complete without its B-side. And this B-side is the story of a little loco who wanted to see the world. * "Rhydyronen" - Slowly but surely, we're going to pick off all of the stations on the Talyllyn Railway. Starting where Abergynolwyn left off, this is the story of our second favourite station on the TR. * "Typically English Day" - This is an homage to Mark Astronaut, a true punk genius who was gone before his time. Although there were many songs we could've picked to cover, it only seemed right to punk up one of his most popular tracks, and one of the main ones that got me into the Astronauts in the first place - Typically English Day, a heart-wrenching tale of an elderly couple trapped in the middle of a nuclear war, following their last moments before their inevitable demise. * "Just For The Record" - There is too much misinformation in the media these days, and one case I found particularly egregious was the gross misrepresentation of the strikers, who aren't so evil as the media want you to believe_

You find Andrew Gabbard on the road and in his creative prime on this astral road trip, collecting songs like a cosmic traveler hitching a ride. "Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weathered tattoo you'd see etched on a barfly's forearm as he slams another drink in a dive. Like its title, the record feels like something that's always been around; a trusty mixtape that everyone can agree on. Andrew comes to this collection of songs with something that very much feels like a `studio' record, the kind of album a 60s rock star feels like they've built the confidence to make, to shake off a rawness for something fuller and more realized. The fact that this record was yet again a homemade effort, with Andrew playing everything (apart from Sven Kahns' pedal steel), gives you an idea of how devoted and studied he is to creating that perfect song. `Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeying between his worlds as a decades-long touring & studio musician/vocalist for the Black Keys, as a songwriter with his head-in-the-stars, and as the man in his home with the people he holds dearest and with the studio where he brings it all together. It is clear that Andrew finds himself at this prolific point in his career completely beholden to songs, to their absolute power, and to their otherworldly ability to connect. He has mastered his craft, and proves throughout the course of this album that he can truly make a pitstop stop at every genre.

You find Andrew Gabbard on the road and in his creative prime on this astral road trip, collecting songs like a cosmic traveler hitching a ride. "Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weathered tattoo you'd see etched on a barfly's forearm as he slams another drink in a dive. Like its title, the record feels like something that's always been around; a trusty mixtape that everyone can agree on. Andrew comes to this collection of songs with something that very much feels like a `studio' record, the kind of album a 60s rock star feels like they've built the confidence to make, to shake off a rawness for something fuller and more realized. The fact that this record was yet again a homemade effort, with Andrew playing everything (apart from Sven Kahns' pedal steel), gives you an idea of how devoted and studied he is to creating that perfect song. `Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeying between his worlds as a decades-long touring & studio musician/vocalist for the Black Keys, as a songwriter with his head-in-the-stars, and as the man in his home with the people he holds dearest and with the studio where he brings it all together. It is clear that Andrew finds himself at this prolific point in his career completely beholden to songs, to their absolute power, and to their otherworldly ability to connect. He has mastered his craft, and proves throughout the course of this album that he can truly make a pitstop stop at every genre.

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

Nach einem denkwürdigen Auftritt bei der Eröffnungsfeier der Paralympischen Spiele in Pais ist Lucky Love der Künstler, den man im Auge behalten muss. An seinem 30. Geburtstag hat Lucky Love bereits 1.000 Leben gelebt: Schauspieler, Tänzer, Drehbuchautor, Schriftsteller, Model, er trat als Sänger in der Kabarettgruppe von Madame Arthur auf, bevor er eine außergewöhnliche Solokarriere startete. Seine erste Ep öffnete ihm die Türen zu einer internationalen Tournee, die ihn in so unterschiedliche Länder wie Georgien, Lettland und die USA führte. Der Grund: der Titel "Masculinity", der zusammen mit seiner sonnigen Ausstrahlung die Herzen von Millionen von Menschen vom ersten Hören an berührte. Das Debütalbum "I don"t care if it burns" ist nun endlich in dern Startlöchern, und es ist genau wie er: leuchtend! 13 Tracks, gemischt mit Gospelchören, die Unterschiede überwinden und die dunklen 80er mit den unbeschwerten 60er Jahren versöhnen, für einen originellen Cocktail des Jahres 2024, der den Nerv der Zeit trifft! Es ist schwer, sich dem Charme des Debütalbums von Lucky Love zu entziehen: eine Einladung zu Toleranz und Brüderlichkeit, die uns alle verbindet.

"VOLUME 1" ist eine denkwürdige Einführung in die Welt von MRCY. Ihre Vision von Soul lässt sich von den Größen der Kindheit (SAM COOKE, MARVIN GAYE) bis hin zu Genre-verschmelzenden Modernisten wie KHRUANGBIN oder SAULT inspirieren - "it's like hearing a distant memory," sagt Barney, "but one that speaks to where you are now". Auf ihrem Debüt blickt der Sound von MRCY tiefer nach innen und weiter nach außen: Die Debüt-Single "Lorelei" war eine ätherische, jenseitige Geschichte über eine Liebe, die in einer Katastrophe enden sollte, während "Flowers In Mourning" Afrobeats und Northern Soul in einer ergreifenden Meditation über Familie und Verlust zusammenbrachte. Das Album wird von einer auffälligen, visuellen Ästhetik begleitet, die in Zusammenarbeit mit Harris Elliot entstand und KI, Adinkra-Symbolik und britische Ikonografie zu einem Look - und Sound - verbindet, der bereits unverkennbar MRCY ist. Auch wenn MRCY sich mit einer ausgereiften Vision präsentieren, haben sie auch hart daran arbeiten müssen. Barney, der inmitten der Schmelztiegel-Kultur von Huddersfield aufgewachsen ist, hat sich als einer der gefragtesten, eklektischsten jungen Produzenten Großbritanniens etabliert; von einem Ivor Novello Award für seine langjährige Zusammenarbeit mit Obongjayar bis zu Mercury-nominierten Künstlerinnen wie Joy Crookes und Olivia Dean. Der in Süd-London aufgewachsene Kojo verdiente sich seine Sporen in der Kirche und sang mit ebenso illustren einheimischen Künstlerinnen wie Cleo Sol und Little Simz. Nachdem sie sich während der Pandemie über Instagram kennengelernt hatten, trafen sich MRCY zwischen den Abriegelungen in Brixton, wodurch sich der Sound der Band - und ihre Verbundenheit - vertiefte. Und obwohl das soziale und politische Chaos unweigerlich in ihr kommendes Projekt einfließt, geht es bei MRCY auch um das Bedürfnis nach einer gemeinsamen Basis: universelle, aber höchst individuelle Erfahrungen mit Klasse, Gemeinschaft und der Qualitätsmusik, die gute Menschen schon immer zusammengebracht hat.

Sechzehn Jahre sind zwar vergangen, seit Isaac Hayes im Alter von nur 65 Jahren viel zu früh verstarb, aber er bleibt einer der beliebtesten und kultigsten Singer/Songwriter/Arrangeure in der Geschichte der Soul-Musik. Die Alben, die Hayes für Stax' Enterprise-Label produzierte, bleiben der Maßstab in Sachen "Symphonic Soul" und klingen auch heute noch genauso atemberaubend brillant wie damals, als sie neu veröffentlicht wurden. Hayes gehörte nicht nur zu einer kleinen Gruppe von Künstlern, die das Wachstum des Soul-Album-Marktes ('Hot Buttered Soul') vorangetrieben haben, sondern war auch ein durchweg erfolgreicher Single-Künstler, der zwischen 1969 und 1976 sechzehn aufeinanderfolgende Singles in den R&B-Charts platzierte - die meisten davon schafften es auch in die Pop-Szene. Die größten Hits wurden bereits früher in Anthologien zusammengestellt, aber 'Hot Buttered Singles' ist die Compilation, die die A- und B-Seiten aller 45er von Hayes aus der "Yellow Stax"-Ära in chronologischer Reihenfolge und in ihren Original-Singleversionen präsentiert. Einige davon sind zuvor noch nie auf CD erschienen. Viele dieser famosen Soul-Tracks gehören zu seinen beliebtesten Aufnahmen, die auch das Soul- und Pop-Radio revolutionierten, darunter das mit Wah-Wah-Intro befeuerte 'Theme From Shaft', 'The Look Of Love', 'Never Can Say Goodbye', 'Walk On By' oder 'By The Time I Get To Phoenix' aus der Feder von Jimmy Webb.
Ausführlich kommentiert und schön illustriert im Booklet und auf CD sowie Doppelvinyl erhältlich!
Die Fortsetzung der Isaac Hayes' Single-Geschichte bis 1977 mit allen frühen Singles auf Ikes eigenem HBS-Label erscheint 2025.

Gotho is an experimental instrumental duo formed in 2020.

Their debut track, "Gatta De Blanc," was a 25-minute composition, showcasing their signature mix of synthesizers, electric piano, and drums, with no backing tracks or overdubs. Blending elements of progressive rock, metal, jazz, disco, psychedelia, post-rock, and classical, their sound defies categorization.

After gaining acclaim for their live performances, they released their first album, *MindBowling*, in October 2022 through Controcanti Produzioni and Black Widow Records, receiving strong reviews.

In November 2024, Gotho will release *Gothron Versus Fartark* with Supernatural Cat. Set in a sci-fi world, the album tells the story of two robotic enemies battling for their world's survival, using synthesizers, electric piano, vocoder, trumpet, and drums to narrate Gothron’s victory over Fartark. Like their previous work, the album spans multiple genres, resisting any single classification.

Gotho are: Fabio Cuomo (Elder, Eremite, Liquido Di Morte) on synth and electric piano. Andrea Peracchia (Tons, Dogs For Breakfast, Slaiver) on drums.

Am Morgen des Mardi Gras kann man sich an den kunstvollen Perlenarbeiten der Indianer erfreuen, wenn sie die Straße entlang tanzen, aber das erste, was man hört ist die Backline, bekannt als ,The Rumble". Mit sieben GRAMMY-nominierten Musikern ist The Rumble mehr als nur eine Band - es ist eine Gelegenheit, in eine ganz besondere Facette der Kultur von New Orleans einzutauchen. Bestehend aus Second Chief Joseph Boudreaux Jr. von den Golden Eagles, Trompeter Aurélien Barnes, Posaunist José Maize Jr, dem Bassisten TJ Norris, dem Gitarristen Ari Teitel, dem Keyboarder Andriu Yanovski und dem Schlagzeuger Trenton O'Neal, verbindet die Gruppe den kultigen New Orleans-Funk im Stile der Meters und der Neville Brothers - jedoch aktualisiert, modern und lebendig, wie es sich für die nächste Generation gehört - mit elektrisierenden Bläsern und der einzigartigen visuellen Pracht der Black-Masking-Karnevalstradition. Auf ihrem Debütalbum "Stories from the Battlefield" erheben The Rumble kühn ihren Anspruch als Fackelträger für die Entwicklung der Musik aus New Orleans - ein progressiver, treibender Sound, der die Konzerthallen in ganz Amerika füllt und gleichzeitig die einzigartige Tradition, die ihn prägt, fest im Griff hat. Die Musiker hier sind nicht nur Weltklasse, sie leben diese Tradition auch jeden Tag. Das zeigt sich in der gesamten Musik - von der Aufforderung ,do it for your people" in ,Take It Back" bis zur Erinnerung daran, dass man ein ,Herz aus Stahl" braucht, um zu überleben, im Titeltrack des Albums - diese Geschichten sind keine Fiktion.

Limited 200 copies pressed.

Debut album by B. Rupp, titled ‘Pop Music’.

B. Rupp’s take on pop music culminates in a debut album that’s deep, emotive, tough & full of noise. A few years in the making and all orchestrated by himself, trademark crunchy vocals and moody swamped out bass lines - it’s B. Rupp in his element.

Mastered by Rupert Clervaux, Photography by Tia Cousins & Alt Design by Ciaran Birch.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist,
wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.
Nun werden die legendären Alben der Herner Metal-Legende mit Bonus-Material mit etlichen Demoversionen (inkl. bisher
unveröffentlichten Titeln) auf Doppel-Vinyls neu veröffentlicht.
„10 Years In Rage“ (1994) enthält neben dem Album etliche Bonus-Titel auf einer Doppel-Vinyl. Ein absolutes Muss für alle RAGE-Heads!

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv
ist, wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung
kam.
Nun werden die Alben der Herner Metal-Legende mit Bonus-Material mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln)
auf Doppel-Vinyls neu veröffentlicht.
Ein absolutes Muss für alle RAGE-Heads!

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist,
wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.
Nun werden die Alben der Herner Metal-Legende mit Bonus-Material mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln) auf
Doppel-Vinyls neu veröffentlicht.
Ein absolutes Muss für alle RAGE-Heads!

PIG DESTROYERs wegweisendes drittes Album TERRIFYER feiert sein 20-jähriges Jubiläum mit einer riesigen, limitierten 2LP und 2CD!
Die Deluxe-Wiederveröffentlichung bietet eine erweiterte Verpackung und neu remasterte Aufnahmen von TERRIFYER und Natasha!
Auf TERRIFYER brodelt PIG DESTROYERs beängstigend fesselnde Mischung aus Metal, Grind, Thrash und Punkrock mit einer Intensität, die den
Unvorbereiteten verunsichert. PIG DESTROYERs derangierte, bösartige Attacke hüllt den Hörer in einen Kokon aus grausigem Nihilismus.

Million Voices Whisper ist das dritte Fantasy-Soloalbum (nach Man in Motion und Ashes & Dust) des
außergewöhnlichen Musikers und Songwriters Warren Haynes. Mit der Unterstützung eines All-Star-Kerns,
dem aus New Orleans stammenden Terence Higgins an den Drums, dem Organisten und Keyboarder John
Medeski, dem Mule-Bassisten Kevin Scott und dem genialen Gitarristen Derek Trucks, hat sich Haynes zu
seinem besten Werk inspirieren lassen: elf Originalsongs, die die Messlatte in einem Genre hoch legen, das
man durchaus als Modern Classic Rock bezeichnen könnte.
„These Changes“ (gemeinsam mit Trucks und TTB-Mitglied Mike Mattison geschrieben) und ‚Real, Real
Love‘ (gemeinsam mit Gregg Allman geschrieben, seine letzte Arbeit mit Haynes vor dessen frühem Tod
2017) sind absolute Highlights. Jamey Johnson und Lukas Nelson begleiten ihn bei „Day of Reckoning“,
einem Song, den er gemeinsam mit Lukas geschrieben hat. Allesamt eingängige, emotionale Kracher, die
von Warrens heiserer, soulgetränkter Stimme zum Leben erweckt werden.
Das Album wurde von Warren Haynes produziert. Er holte sich seinen Allman Brothers Bandkollegen
Derek Trucks als Co-Produzenten und Gitarristen für vier der Songs auf dem Album.

Paquito D’Rivera's - NEA Jazz Master, multiple Gramm winner, Downbeat Hall of Fame Inductee - gained worldwide attention as member of the Grammy Award winning Cuban group Irakere, a revolutionary ensemble co-founded with Chucho Valdés in the early 1970s. Blending Afro-Cuban rhythms and jazz, the band was a seminal force and marked a new era in Cuban music. His defection to the United States in 1980 was a turning point, as he became an ambassador of Latin jazz around the world, fusing cultures and genres effortlessly.

A decade into his new status, D’Rivera entered a New York studio to record an homage to Bebop.

He enlisted Grammy award winner and Dizzy Gillespie alum James Moody, distinguished straight ahead jazzers Mark Morganelli, Harvey Swartz and Al Foster, and major Latin-jazz players of the day Claudio Roditi, Danilo Perez, and Pedrito Lopez. While his intentions may have been to make an album like “Monk, Bird, and Dizzy” as he states in the liner notes, the results here are undeniably in D’Rivera’s signature style.

The album features a mix of original compositions from featured players, alongside the ensembles take on Coltrane’s “Giant Steps”, and Monks “I Mean You,” all delivered with D’Rivera’s unique perspective and deep understanding of traditional jazz and Latin music traditions.

Ludwig Hart, who over two albums has established himself as our foremost innovator of classic American road rock aesthetics, has throughout 2024 released songs with a sound that is even bigger than on the artist's breakthrough album, 2021's "Paloma". The song "Less I Try" has been in constant radio rotation in Sweden, Germany and the UK, and Hart has had time to appear on national TV, embark on a major tour with two successful gigs at The Great Escape in Brighton and spend a summer playing the biggest Swedish festival stages. On his third album "Stay Young" - released on September 27 via Argle Bargle Studios - Hart showcases an increasing freedom to genre and style. From reflective, stripped-down tracks like "Ghost of You" and the title track, we're taken through the reverb-drenched garage boogie of "Run Run" to the big chorus wind-in-the-hair rock of single favorites like "Less I Try" and "Journey." On previous albums, Hart has been praised for his lyrics - personal stories about people around him growing up and their life situations. On ”Stay Young” - on the contrary - he turns inward and faces his own fears and demons. "It's been scary but necessary. The album is about my fears of getting older, fears of ending up like my dad. It's about how much I've tried to suppress things I've been through, and how they've probably shaped me into who I am. I live with ghosts that never seem to want to let go, I have my own devil on my shoulder that constantly makes itself known. I am periodically terrified of ending up in total fucking darkness. This record has helped me try to understand why."

"Horizoning is the sole album by Stefan Gnys. It recorded in 1969, and twelve copies were produced on acetate. Two worn copies remain, from which We Are Busy Bodies painstakingly remastered the album. There is static and crackle, but there are also a beautiful folk album waiting for an audience to finally hear it and learn the story.

From performing to an audience comprised of Joni Mitchell, Leonard Cohen, and Tom Rush at an early edition of the Mariposa Folk Festival to seeing regional airplay for a 7"" single version of the song Evangeline and album title track Horizoning, there were moments where Stefan's music began to bubble into the mainstream.

55 years after its recording, Horizoning will finally see its release and hopefully a new audience and generation of listeners. The album comes with a 24-page large format insert telling the story of comprehensive back story that is Horizoning and the life of Stefan Gnys."

A New Entry In The Canon Of The Genius Ray Charles The First Black Artist To Record A Country Music Album His Original Iconic Country Recordings Includes ""I Can't Stop Loving You"" & ""Seven Spanish Angels"" Mastered By Multi-GRAMMY® Winning Engineer Michael Graves Produced In Full Cooperation Of The Ray Charles Foundation

Ray Charles changed the way the world perceived country music.

A new, stand alone album, with a track-list of iconic songs cherry picked from across Ray’s country music recordings. With thoughtful attention to detail, this piece looks and feels authentic and period appropriate. This collection not only showcases Ray’s unparalleled interpretations of country classics, but also serves as a timely reminder of his role as a cultural pioneer who helped bridge racial divides through the universal language of music.

NEA Jazz Master Big Chief Donald Harrison Jr. is one of finest saxophonists of his generation. His resume includes long associations with Terrance Blanchard and Art Blakey throughout the 1980s. But the foundation of Harrison's music, and it’s the soul of his music, comes from his lifelong participation in the culture of New Orleans, his home town.

Here he pays tribute to that rich culture, and accompanied by non other than the legendary Dr. John.

Both artists, the embodiment of New Orleans’ music in their own right.

The album features a mix of original compositions and jazz standards, all infused with the spirit and energy of New Orleans. Featuring the Mardi Gras Indian chants of The Guardians Of The Flame, this recording captures the magic of heritage New Orleans Mardi Gras music and wraps it all up in one package.

Originally recorded at BMG Studios in New York City, May of 1991. Remastered by Bernie Grumman.

The title of this 2004 classic is an apt one; Of Malice and the Magnum Heart brought melody and emotion to the metalcore genre like few albums before and since, particularly on the devastating “The Year Summer Ended in June,” which commemorates the deaths of Jordan Wodehouse and Daniel Langlois of the Misery Signals precursor band Compromise, killed by a drunk driver in Heflin, Alabama. For its 20th anniversary, and for its FIRST release on vinyl at American retail, we’re pressing this one in “orange crush” vinyl, complete with a lyric insert. Complex time signatures, complementary dual guitar parts, and experimental interludes (e.g. the instrumental “Worlds & Dreams”) make for a thinking and feeling man’s metal album… recommended!

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

The Prisoners were a regular live act in London’s psychedelic and mod revival scene of the early 1980s. They recorded some fantastic material blending garage-punk, soulful vocals, and electrifying Hammond organ, but never quite made it. They called it a day in 1986, and most band members went on with new musical projects, including The Prime Movers and The James Taylor Quartet. The love of the Prisoners’ music has grown ever since though, and the original four members have done several re-unions over the years on stage and released a long-awaited comeback album this year. Their lasting influence can be detected on subsequent generations of musicians, including many of the Madchester bands of the early 90s, notably the Charlatans and the Inspiral Carpets, and serves as a blueprint for Britpop and beyond. Now we release The Prisoner’s best songs on the LP Hurricane with great packaging, liner notes and rare photos.

"The Affectionate Punch is the debut studio album by the Scottish post-punk and new wave band the Associates. The album was released on 1 August 1980. From the album ""The Affectionate Punch"" and ""A"" were released as singles. Upon its release, The Affectionate Punch was declared ""a kind of masterpiece"" by Paul Morley of the NME, who described it as ""a passionate cabaret soul music, a fulfilment of the European white dance music Bowie was flirting with back then."" None other than Robert Smith (the Cure) can be heard doing backing vocals on ""The Affectionate Punch"" and ""Even Dogs in the Wild"". Nigel Glockler (Saxon) is the drummer on this album. The Affectionate Punch is available as a limited edition of 1000 individually numbered copies on turquoise coloured vinyl and includes an insert."

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More
showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats.

Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble
performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall.

Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

AERIAL SUPER HIGHWAY, the third project released on Futurepast by Kato De Vidts builds on the emotional depth of her previous release, Human Becomings, De Vidts in collaboration with J. Noon crafted together on this one an immersive soundscape that beckons the audience to ascend into a celestial, hypnotic state.

From the tranquil whispers of the first track Aerial Super Highway, enveloping you in gentle melodic layers, to the driving energy of the closing Dragon Dance, where pulsating beats echo the rhythm of fire, this EP showcases De Vidts & J. Noon ability to weave intricate sound narratives. Her evocative sound design guides listeners through emotional landscapes rich with vulnerability and resilience.

As you navigate this sonic highway, expect moments of introspection and exhilaration within a beautifully chaotic interplay of hope and uncertainty. AERIAL SUPER HIGHWAY transcends the typical EP experience, inviting you to rise above the ordinary and embrace the extraordinary and uncanny aspects of existence. Join Kato De Vidts & J. Noon on this entrancing journey, where each note invites you to take off and plunge into the depths of your own consciousness. Prepare to be transported to a realm where the air hums with the magic of sound, enchanting all your perceptions.

Eclectic Beats Music release number 7 is Fradinho’s “Tropicafrica EP”, inspired by Ghana’s Highlife music.
On the A-side, Fradinho delivers two original Broken Beat tracks: “Tropicafrica”, which also names the EP, is a journey into a slower syncopated Highlife guitar track, with a lovely progressive harmony and guitar picks. “Highlife” has a more upbeat atmosphere, still with the Highlife guitars on a happy vibe and a faster beat structure.
On the B-side, there’s 2 distinct quality remixes:
Sun 793 delivers a journey into a darker, futuristic, yet contemplating sonic bruk experience, with lush keys contrasting with the overall deep feeling of their “Tropicafrica” remix.
Mr. Bird also remixes the track “Tropicafrica”, in a cross-genre fusion between house and broken beat, adding some vocal elements and brass, that results in this uplifting remix.

For their recent capsule collection in collaboration with Obey Clothing, Klasse Wrecks label owners Mr. Ho and Luca Lozano turn their hands to an EP entitled 'FREE TEKNO'. Inkeeping with the range's celebration of free spirited exploration and unbridled creativity the well seasoned and experienced production duo provide 4 tracks of various flavours. The mood is a little darker and faster than usual KW fare and throws knowing glances to late 90s genres such as Tribal Techno and Acid Breaks. The resulting EP is a good reflection of two producers happily in their own lane, enjoying the journey that come alongside with making music and running a record label.

Founded in the stillness of 2020 when a group of tight tight-knit up and coming musicians were robbed of their livelihood and greatest joy - live performance - the group came together in a graffiti smudged artist s space in an old industrial facility in Copenhagen s outskirts and created a space for themselves to improvise in a funky, groove based setting. A followup to their 2023 debut Moko Jumbie which explored the rich culture of West African music popularised by Mulatu Asastke and Fela Kuti, as the name suggests, Soul Piece leans further into the tropes, grooves and idioms of Western 60" s Soul and Funk. Recorded live over two days at the Royal Danish Academy of Music, the albums raw, warm production captures the energy, intimacy and excitement of a live performance, transporting the listener right in the centre of a pulsating dancefloor. Each song is rooted in groove and exemplary band musicianship, and made up of every stylistic feature one might crave from the genre: crunchy rhodes tones, percussive clavinets, thick organ textures, grooving tambourines, searing guitar solos, deep pocket drum grooves, infectious basslines, punchy horn backings and James Brown Brown-esque stabs. Self described as the young lions " of the Danish jazz scene, each member of the six piece is an active contributor to the country s diverse musical output; Norregaard, Langebæk & Besiakov can be heard performing regularly in the Fela Kuti saluting Black Money Orchestra and Bæst, Eskildsen with the Addis Ababa Band, and Thofte & Toftemark each leading their own projects in contemporary hard hard-hop to name but a few of their many ventures.

Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over- dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of textures. Rendered in the stark beauty of Andersen"s bass lines, the nuanced strokes of Sommer"s drums, and capped with the lush, expansive timbres of Luft"s guitar, "As Time Passes" is a testament to the enduring and ever ever-evolving wonder of Jazz.

Jonas Munk closes his ambient trilogy with mammoth drone pieces, multi-layered guitars and hymnal krautrock. "Mirror Phase" concludes a trilogy of minimal ambient albums in Munk's (Causa Sui) own name. These eight compositions, based on guitar and synthesizer loops, marks a return to the warmer sounds Munk is often associated with. Sonic structures that slowly and gradually evolves and changes, like cloud formations in the sky. The title track, "Mirror Phase", is Munk's most expansive drone opus so far. It's a carefully arranged piece where sounds that oscillates with the same interval, but at different phases, are continuously added, hence creating shifting patterns throughout the track's nearly 18 minute duration. Elsewhere, in "Transition", multi-layered guitars creates the sonic equivalent of waves gently splashing on the shore. "At a Distance" creates a haunting, and hypnotic, soundscape by using slightly out-of-tune analog synthesizers, summoning the transcendent krautrock of Popol Vuh. And "Rise", as well as the closing track, "Return to Nowhere", recalls the glistening sounds of his Manual releases. "Mirror Phase" might just be Munk's ambient oeuvre reaching its zenith. The CD edition comes with an extra CD with Jonas Munk's 2021 album, "Altered Light", which has previously only been released on digital download and streaming.

WARMDUSCHER kehren im Herbst mit ihrem neuen Album Too Cold To Hold zurück, auf dem Irvine Welsh, Lianne La Havas, Janet Planet, Jeshi und CouCou Chloe als Gäste zu hören sind. Das Album ist zweifellos ihr bisher bestes und ambitioniertestes Album. Wenn man die repetitiven und polyrhythmischen Grooves des Gqom (eine verführerische südafrikanische Variante der House-Musik) aufgreift, eine Prise Hip-Hop und sogar Jazz hinzufügt und das Ganze dann mit ihrem Punk-Funk-Disco-Pogo verbindet, ist das eine fesselnde Mischung. Das Album wurde von Ben Romans Hopcraft zusammen mit Jamie Neville produziert. Auf Too Cold To Hold dehnt sich die Band aus, öffnet sich und produziert ihr bisher schillerndstes, eklektischstes und ehrlichstes Album. "Wir wollten, dass es eine brutal ehrliche Darstellung von uns selbst ist". "Wir sind dafür bekannt, dass wir uns auf eine bestimmte Art und Weise verhalten, auf eine bestimmte Art und Weise spielen und eine bestimmte Methode anwenden. Ich denke, die Formel für Warmduscher ist Chaos. In jeder Hinsicht. Das Chaos, das wir uns zu eigen machen, hat Methode, und es ist wirklich wichtig, dass wir es unter Kontrolle haben und dass sich dieses Chaos entwickelt. Andernfalls würden wir uns in der gleichen Schleife befinden und den Leuten das geben, von dem sie denken, dass sie es von uns wollen. "Warmdsucher entstand 2014 aus einer kreativen Kollision zwischen Mitgliedern verschiedener prominenter Bands und diese spontane Formation führte zu einer Band, die nicht nur ein Nebenprojekt war, sondern eine musikalische Kraft, die sich bald ihre eigene Nische schaffen sollte. Auf ihren vier Vorgängeralben Khaki Tears (2015), Whale City (2018), Tainted Lunch (2019) und At the Hotspot (2022) hat die Band mit einigen der angesehensten Produzenten wie Dan Carey und Joe Goddard & Al Doyle von Hot Chip zusammengearbeitet und für ihren DIY-Geist und ihre mühelose Fähigkeit, Genres furchtlos zu vermischen, viel Lob von ihren Fans erhalten. Der Ruf eine der aufregendsten und fesselndsten Live-Bands zu sein, eilt ihen voraus, und bald werden sie wieder die Bühnen beglücken! Klar-rote LP sowie CD!

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

Unter den zahlreichen Aufnahmen von Giuseppe Verdis Messa da Requiem zählt Herbert von Karajans Aufnahme von 1972 zu den am meisten bewunderten. Neben den Berliner Philharmonikern und dem Wiener
Singverein stehen ihm mit Mirella Freni, Christa Ludwig, Carlo Cossutta und Nicolai Ghiaurov vier der
besten Verdi-Interpreten seiner Zeit zur Seite.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.

Zwei Sitzungen benötigten Claudio Abbado und das Boston Symphony Orchestra im Februar 1970, dann
war die Aufnahme des eingespielten Teams im Kasten. Ihre Interpretation von Debussys Trois nocturnes,
Ravels Suite Daphnis et Chloé sowie seiner Pavane pour une infante défunte wurde zum Klassiker.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.

Nur wenige Tondokumente bezeugen die hochkarätige künstlerische Zusammenarbeit zwischen Ausnahmepianist Emil Gilels, Stardirigent Eugen Jochum und den Berliner Philharmonikern. Ihre gemeinsamen
Aufnahmen der beiden Klavierkonzerte von Johannes Brahms erreichten jedoch Kultstatus und gelten bis
heute als unübertroffen („unsurpassed pair of performances“, The Guardian).
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.

Die Ära von Seiji Ozawa als Chefdirigent des Boston Symphony Orchestra überdauerte eindrucksvolle 29
Jahre – eine Zeitspanne voller musikalischer Höchstleistungen, die ihresgleichen sucht. Noch vor dem
offziellen Amtsantritt kreierte Ozawa mit seinem Orchester eine facettenreiche Aufnahme von Berlioz‘
Symphonie fantastique bei der Deutschen Grammophon, die von der New York Times als besonders „leicht
und quecksilbrig“ gerühmt wurde.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.

Multitalent Jon Batiste bringt Beethoven den Blues bei!
Beethoven, Blues und Gospel, diese drei nur scheinbar unvereinbaren Klänge bringt Jon Batiste auf
seinem neuen Album mit Leichtigkeit zusammen. Das Aufbrechen von Genre-Grenzen war schon immer
seine Spezialität, vom Grammy-ausgezeichneten Jazz/Black-Music-Album „WE ARE“ und dem Nachfolger
„World Music Radio“ bis hin zu jüngeren Kollaborationen mit Beyoncé, A$AP Rocky, Fireboy DML und
Willow. Auf seinem Solo-Piano-Album „Beethoven Blues“ verbindet Batiste jetzt die musikalischen Einflüsse seiner Heimat New Orleans mit denen seines Klassik-Studiums an der renommierten Juilliard School
in New York.
Wenn der Grammy- und Oscar-Gewinner jetzt die berühmten Themen von Beethoven spielt, hört man
diese mit ganz neuen Ohren und wird mit seelenvollen musikalischen Überraschungen belohnt

Phantogram returns with Memory Of A Day, the band's highly anticipated fifth album. Known for their genre-defying sound, Josh Carter and Sarah Barthel once again push boundaries with a mesmerizing blend of dark psychedelia, electronic pop, and hard-hitting beats, exploring themes of nostalgia and memories. Featuring the hypnotic lead singles "Come Alive" and “All A Mystery,” co-produced by Grammy-winner John Hill, this vinyl—out October 18 on Neon Gold Records—is a must-have for any collection.

Incomparable Northern Irish songstress Janet Devlin is poised to release her courageous country-rock album, "Emotional Rodeo," on 15th November 2024. Recorded at Martina McBride’s Blackbird Studio in Nashville with esteemed producer Roo Walker, tracked by Lowell Reynolds (Shania Twain, Boy Genius, Taylor Swift) and mixed mostly at Spotnick Studios by Grammy-Award winning producer/mixer Vance Powell, (Chris Stapleton, Jack White) Devlin captures the heartfelt essence of country-rock with an authentic edge, blending sharp, witty lyrics with themes of fearless self-empowerment.

TWO-TIME GRAMMY® AWARD-WINNING RECORDING ARTIST, ACADEMY AWARD-WINNING ACTRESS, AND TONY AND EMMY AWARD-WINNING PRODUCER JENNIFER HUDSON IS PLEASED TO ANNOUNCE HER FIRST EVER HOLIDAY ALBUM, THE GIFT OF LOVE VIA INTERSCOPE RECORDS. THE GIFT OF LOVE SEES THE GENRE-DEFINING VOCALIST DELIVERING CLASSIC COVERS AND HOLIDAY ORIGINALS THAT ARE SURE TO BE LISTENED TO FOR YEARS TO COME. WITH HER EFFORTLESS RANGE AND MELODIC TONE JENNIFER BRINGS THESE SONGS TO LIFE AS ONLY SHE CAN DO. THE GIFT OF LOVE IS CERTAIN TO CAPTURE THE MAGIC OF THE HOLIDAY SEASON. - CD was released in start of October

"Enjoy The Ride Records in conjunction with Paramount Music proudly presents 48 HRS., Composed and Conducted by James Horner.

Eddie Murphy rocketed to movie star status (and earned a Best Actor Golden Globe nomination) in this acclaimed action-comedy that pushes the limits of both genres. Nick Nolte is unforgettable as Jack Cates, a rough-edged Inspector on the hunt for two vicious cop killers. Unlikely ride-along con Reggie Hammond (Murphy), is given 48-hour leave from prison to help Cates on the case. The laughs fly almost as much as the punches, as both men attempt two very different goals in a short amount of time.

Available on vinyl for the first time with remastered audio, 48 HRS. is limited to 500 copies across three color variants."

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

"Join the Kyle Shepherd Trio on 'A Song More Sweetly Played' as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’.

‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’
observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record! I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’

To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played.

Kyle Shepherd is one of South Africa’s leading jazz, film and theatre music composers and pianists of his generation, internationally recognised for his distinctive compositional style and performances. He was the Standard Bank Young Artist of the Year for Jazz in 2014 and the UNISA piano competition winner in 2019, and has performed in 28 countries around the world, including 11 concert tours to Japan."

The Kyle Shepherd Trio: Kyle Shepherd (Piano), Shane Cooper (Double Bass) and Jonno Sweetman (Drums).
All Compositions by Kyle Shepherd except “Teardrop” by Massive Attack and “Don’t Stop Believing” by Journey.
Recorded May 2024 at Sunset Studios, Cape Town
Recording Engineer - Jürgen von Wechmar
Mixed by Martin Ruch.
Mastering by Frank Merritt.
Artwork and Design by English Designed and produced with support from the Baxter Theatre, Cape Town.

Classic mix of rocksteady and early reggae hits, includes ‘007’ which topped the UK & US charts.

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a silky soulful flow. A wild fusion of garage punk, sixties rock’n roll and a touch of RnB soul, with its own gentle smokiness. Combining a broad spectrum of influences - from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance! Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

‘The Man’ unapologetically traverses between genres. From foot stomping funk and blues to world music, folk and pop, Calum refuses to be placed in a box.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers

Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

Interpol feiert den 20. Jahrestag der Veröffentlichung ihres Kultalbums "Antics", das ursprünglich am 27. September 2004 veröffentlicht wurde. Das zweite Studio-Album der US-Amerikaner festigte Interpols Position als eine der einflussreichsten Bands ihrer Generation. Interpol erlangte mit ihrer einzigartigen Mischung aus Post-Punk, Shoegaze und Dark-Wave-Einflüssen schnell große Bekanntheit. Die düsteren und atmosphärischen Klanglandschaften in "Antics" vereint mit Frontmann Paul Banks unverkennbarer Stimme, brachten darunter Single-Klassiker "Slow Hands", "Evil" und "C"mere" hervor. Zur Feier des 20. Jubiläums von "Antics" veröffentlichen Interpol gemeinsam mit Matador Records eine erweiterte digitale Neuauflage. Diese enthält eine neue B-Seite "Direction" und eine bisher unveröffentlichte komplette Live-Aufnahme des legendären Auftritts der Band 2005 im Palacio de los Deportes in Mexiko-City. In diesem Herbst wird die Band auf Tournee durch die USA, Großbritannien, Irland und der EU gehen. In Deutschland wird man sie an den folgenden Terminen sehen können.

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

Multi Culti World Records venture deeper into the new new age with the release of 'Ocean of Beauty - Meditations for Synthesizer and Bansuri Flute,' a collaboration between California-based artist/DJ Earthtones and Indian classical musician Sheela Bringi. Earthtones, fresh off his genre-defying debut album on Wonderwheel, here dives into the deep end of the ocean of ambient. With music that traverses cultures,he’s known for bridging influences from Cumbia to hip hop and house music. Here he presents his most consciousness-expanding work yet, no doubt influenced by his involvement in Ojai new age culture,years living in ashrams, practicing Shaktism,+ spending as much time curating sounds suitable foraural healing and meditation as for dance-floors. He’s found a perfect muse in Boulder-based Sheela Bringi, whose virtuosity in Indian classical music sets the tone of the record with her bansuri (Indianbamboo flute) & harp, blending traditional instrumentation with more contemporary influences. Bringi was a direct disciple of bansuri master GSSachdev, and represents a devotional musical lineage. She has released two solo albums, 'Shakti Sutra' and 'Incantations,' and her work has been featured on over 50 world and ambient records, plus publicly on outlets from NPR to NBC News, & more. 'Ocean of Beauty' is the English translation of an ancient Sanskrit text devoted to the divine mother, the Sri Saundarya Lahari, The song titles are taken from verses in that text, and the album is in fact a dedication to the goddess Lalita Devi. It creates a serene, meditative space which seamlessly blends traditions; synth-driven ragas with a spirit of tranquility that nurtures Multi Culti’s philosophical bent towards ‘music without borders.’

Celebrating dance music’s roots in Africa, global music superstars Soweto Gospel Choir and renowned Australian DJ Groove Terminator team up with Grammy-winning producer Latroit to present ‘History of House,’ a global reimagination of the iconic dance music classics that defined a generation.

Featuring exquisite multilingual vocal performances and collaborations with some of Southern Africa's most promising emerging artists, "History of House" stands as a vibrant celebration of music and culture. This album transcends boundaries, effortlessly connecting diverse cultures across generations with an authentic fusion of global beats, Afro house, Amapiano, and house music.

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

Stomping into the SBC universe comes 131bpm; a Berlin houseTM-hold head with his distinct signature style of sass’d up sexy dance floor burners. The 5 track collection “Ethereal Yarn” weaves in jacking house, bounce bass and flirty tech with a bonus remix from PSL; hot, heavy and ready for your play. Expect the unexpected as conventionality is unraveled through freaky vocal cuts, buckwild percussion and genre mashups for the gods. How long is a piece of string? Lick my chain if you’re nasty!

Re-mastered from original mono master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art.

Double insert using an original photo by JP Leloir from 1955.

Each record has been visually checked to prevent defects.

Recorded December 27 and 29, 1955 at the Pathé Magellan studio, Paris.

Original LP issue: Barclay 84.023.

After hitting Paris in 1950, saxophonist Bobby Jaspar enthralled jazz fans and jazzmen alike with his smooth, elegant playing, with the lyricism of his tranquil phrases heavily influenced by Stan Getz in particular. So when Jaspar began regularly performing with a small ensemble at the Club St-Germain five years later, he adopted the same instrumentation as that of his idol’s illustrious quintet, with Sacha Distel on guitar and René Urtreger on piano in the roles of Jimmy Raney and Al Haig, respectively.

Contrary to what its title might suggest, ‘Modern Jazz au Club St-Germain’ was actually recorded in the studio. It features compositions by Milt Jackson, Dizzy Gillespie and Miles Davis along with a handful of standards, in which the angular aridity of bebop gives way to the generous and yet sensitive idiom of cool jazz.

Jaspar’s premature death in 1963 robbed the jazz world of a promising talent; this record is among his best efforts as a leader. Bobby Jaspar is in top form here !!!

Text – Pierre de Chocqueuse

Bobby Jaspar (Tenor Saxophone & Flute)
Sacha Distel (Guitar)
René Urtreger (Piano)
Benoit Quersin (Bass)
Jean-Louis Viale (Drums)

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

Shock Room it’s a double vinyl release who takes the name from the main room of the discoteque.

ULTIMO IMPERO DI Torino; an historic temple of the techno music from the ‘90s. in this compila)on are all included the most iconic and an)cipated “techno, trance & progressive” grooves that have made dance en)re genera)ons of people, nowadays again on track and well
spinned up by djs all arounf the world.

Belén Natalí, Argentinian artist based in Barcelona and known for her extensive international career in the field of reggae and sound system culture, starts a new project where she navigates organically in pop/lo-fi rhythms with R&B reminiscences and jazz without forgetting his nods to Jamaican music. Her EP Jacarandà (Say it Loud Records & Costa Futuro, 2023) is quite a declaration of intent that features the collaborations of Ferran Palau and Santa Salut on two of the cuts. Belén, inaugurates a new stage in her musical career with musicians and producers such as Genis Trani or Hoss Benitez and Enric Peinado from the groove combo Big Menu.

Beeinflusst von DC-Punk und der Politik, die Dischord, TeenBeat und die Riot Grrrl-Revolution inspirierten, stürzten Tsunami aus Arlington, Virginia in die 90er Jahre mit Witz, Verzerrung und einem scharfzüngigen feministischen Geist. Diese Box mit fünf LPs enthält Songs von elf Singles, 4-Track-Demos, die Alben "Deep End" von 1993, "The Heart's Tremolo" von 1994 sowie die allererste Vinyl-Pressung des gefeierten "A Brilliant Mistake" von 1997. Aus dem Kofferarchiv ihres eigenen Labels Simple Machines Records schöpfend, sind Tsunamis Ambitionen - von Kellerkonzerten bis hin zur zweiten Bühne des Lollapalooza - in Essays, Fotos und Ephemera festgehalten, die diesen Teil der DIY-Geschichte der alternativen Musikrevolution belegen.