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For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

The Light Below's "Georgia" d eröffnet eine Serie von Veröffentlichungen, die die Grenzen zwischen Rock, Tradition und globaler Musikkultur neu ausloten. Eein außergewöhnliches Post- Rock-Album, das instrumentale Klanglandschaften mit jahrhundertealter georgischer Gesangstradition verbindet. Für "Georgia" kooperiert die Band mit dem georgischen Frauenchor Akhla, dessen überlieferte Volkslieder aus unterschiedlichen Regionen Georgiens stammen. Diese traditionellen Songs wurden in Zusammenarbeit mit THE LIGHT BELOW neu interpretiert und so arrangiert, dass sie auf besondere Weise mit den instrumentalen Post-Rock-Elementen verschmelzen. Ein herausragender Moment des Albums ist "Tsinskharo" - ein ursprünglich von Männern gesungenes Lied, das durch Werner Herzogs Nosferatu (1979) weltweite Bekanntheit erlangte. Die neue Version wird als erste Single ausgekoppelt und von einem zweiteiligen Musikvideo begleitet. Der instrumentale Teil des Albums wurde noch von dem 2024 verstorbenen Steve Albini aufgenommen. Seine unverkennbare, rohe Produktionsästhetik verleiht ,Georgia" eine unmittelbare Klarheit und Intensität. Die Gesangsaufnahmen des Chors Akhla entstanden 2022/23 in Berlin. "Georgia" entfaltet ein unverwechselbares Klangbild aus monumentalen Gitarrenwänden, introspektiven Passagen und epischen Crescendi. Es verbindet die Emotionen und Geschichten georgischer Volkslieder mit der Dramatik des Post-Rock - ein Album, das Brücken zwischen Kulturen schlägt.

The Light Below's "Georgia" d eröffnet eine Serie von Veröffentlichungen, die die Grenzen zwischen Rock, Tradition und globaler Musikkultur neu ausloten. Eein außergewöhnliches Post- Rock-Album, das instrumentale Klanglandschaften mit jahrhundertealter georgischer Gesangstradition verbindet. Für "Georgia" kooperiert die Band mit dem georgischen Frauenchor Akhla, dessen überlieferte Volkslieder aus unterschiedlichen Regionen Georgiens stammen. Diese traditionellen Songs wurden in Zusammenarbeit mit THE LIGHT BELOW neu interpretiert und so arrangiert, dass sie auf besondere Weise mit den instrumentalen Post-Rock-Elementen verschmelzen. Ein herausragender Moment des Albums ist "Tsinskharo" - ein ursprünglich von Männern gesungenes Lied, das durch Werner Herzogs Nosferatu (1979) weltweite Bekanntheit erlangte. Die neue Version wird als erste Single ausgekoppelt und von einem zweiteiligen Musikvideo begleitet. Der instrumentale Teil des Albums wurde noch von dem 2024 verstorbenen Steve Albini aufgenommen. Seine unverkennbare, rohe Produktionsästhetik verleiht ,Georgia" eine unmittelbare Klarheit und Intensität. Die Gesangsaufnahmen des Chors Akhla entstanden 2022/23 in Berlin. "Georgia" entfaltet ein unverwechselbares Klangbild aus monumentalen Gitarrenwänden, introspektiven Passagen und epischen Crescendi. Es verbindet die Emotionen und Geschichten georgischer Volkslieder mit der Dramatik des Post-Rock - ein Album, das Brücken zwischen Kulturen schlägt.

Joe Allotta's solo project (drummer, composer, and singer) was born from his need for freedom of expression after numerous experiences
as a session musician for artists such as Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Leburn Maddox, Giles Robson,
Amy True, and Imaani (Incognito).
His compositions embody the desire to make jazz, in its various forms and influences, accessible to the widest possible audience without sacrificing the impact of an engaging and captivating live performance.
Joe Allotta blends hip hop, funk, and drum 'n' bass with contemporary jazz, perfectly blending vocals with his performances. He combines
his rhythmic exploration with a sweet and surprising voice, capable of lending further emotional depth to his music.
"Transition" is a musical journey that reflects a life in constant motion, where everything seems fleeting, fast, and fleeting, immersed in the
frenetic rhythms that surround us every day. The title also encompasses a more intimate dimension: the growth of his artistic identity. Joe is
no longer just a drummer and composer, but also a singer. His intense and surprising voice intertwines with his drumming in a continuous
dialogue, opening up new expressive possibilities and adding further depth to his musical language.
The album was produced in the studios of the Sghetto Club in Bologna, where Joe, together with his producer Jacopo Trapani, spent weeks
researching and experimenting: rehearsing, playing, processing and synthesizing sounds, developing and arranging ideas, thanks also to
the collaboration of extraordinary musicians. The result is a work that blends instinct and research, intimacy and openness, movement and
transformation: exactly what Transition aims to convey.
CREDITS
Giuseppe "Joe" Allotta: Compositions, Vocals, Drums, Bass, Keyboards
Jacopo Trapani: Compositions, Recording, Mixing
Chicco Allotta: Piano (Track 1)
Giovanni Galdo: Bass (Track 1)
Riccardo Dalle Vedove: Trombone (Track 1)
Piergiorgio Perrella: Guitar (Tracks 2, 5, 8, 9)
Elijah Lee Last Jacinto: Piano (Track 6)
Matteo Diego Scarcella: Sax (Track 6) Francesco Brini: Master

Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

Subconscio left the smallest town in Gargano to begin a new life in uncharted Bologna.
Leaving mother earth, he still retains a strong sense of that distant world, expressed through the senses of his inner child. The Subconscio
project finds its expression in music, where it blends Neo Soul, Hip Hop, and Electronica into a sound deeply influenced by individual experiences. Soft vibrations and relaxed lyrics are the means through which he expresses his devotion to creative freedom, moving with the urgency of someone who has finally found his voice. The word dáimōn originates from Ancient Greek and means divine messenger, a guiding
spirit that hovers in a middle ground, called metaxu, the same place where the soul resides, and acts as a link between God and humanity.*
"Daimon" is Subconscio's debut album, produced by Luzee. It's the intimate vision of a person suspended in his imagination, questioning
the identity of his own memory and how the places that led him to his NOW are actually his future. The present doesn't exist in the narrative.
It exists only in the connection between childhood memories and the adult perspective.
Giulio is his son and also his parent: the Subconscious; the "daimon" is the musical journey that connects these two ways of observing the
same memory. Nostalgic turmoil meets the desire to recognize oneself and fuel the obsession with music, because only this—albeit the least
apparent art—is the only one that can be the voice and bearer of the dimensions of consciousness.
Featuring on the album: Madbuddy and Claver Gold

Sabine McCalla creates her own version of multi-cultural American roots music. It's a sound that crosses borderlines, pulling everything from Brazilian samba to southern soul to British rock & roll into its orbit. On Don't Call Me Baby, Sabine filters those influences through the lens of her Haitian heritage and her music community of New Orleans, creating a debut album that's every bit as multi-faceted as the woman who wrote its songs.

The daughter of first-generation Haitian immigrants, Sabine was raised in the suburbs of New York City, where she grew up alongside her sister Leyla McCalla (Sons of Our Native Daughters, Carolina Chocolate Drops). Introduced to chamber music at an early age, Sabine began playing classical violin in orchestras, music camps, and conservatory classes as an 8 year old. Back at home, she filled her head with Motown classics, girl group hits, Bob Marley albums, Beatles standards, and Haitian folk music. It was a wide constellation of sound that spanned more than a half century, and Sabine made it all her own, drawn to the connections binding everything together.

Don't Call Me Baby shines a light on those connections. The follow-up to her critically-acclaimed Folk EP, whose pre-war sound earned her a slot at the Newport Folk Festival in 2019, the album transcends genre and generation, creating a raw, rich mix of country, R&B, folk, and soul that exists on its own timeline. Co-produced by Sam Doores of the Deslondes and featuring a cast of New Orleans’ most spirited and gifted (including guest vocals from Riley Downing, Leyla McCalla, and The Lostines), Sabine McCalla reaches beyond her beloved New Orleans Americana scene with Don't Call Me Baby, building a bridge between the world-spanning sounds that have captured her attention.

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

„Pilgrimage“, 1971 veröffentlicht, ist das zweite Studioalbum der britischen Rockband Wishbone Ash. Das Album zeigt eine Mischung aus Progressive Rock, Blues Rock und Hard Rock. Wishbone Ash sind vor allem für ihre doppelten Leadgitarren-Harmonien bekannt, eine Besonderheit, die auch auf „Pilgrimage“ zu hören ist. Das Album enthält mehrere bemerkenswerte Titel, darunter: „Vas Dis": Ein energiegeladener Eröffnungstrack mit Jazz-Einflüssen. „The Pilgrim": Ein Instrumentalstück, das zu den herausragenden Stücken gehört und die doppelte Gitarrenarbeit der Band hervorhebt. „Jail Bait“ (Gefängnisköder): Ein rockiges Stück, das sich zu einem Live-Favoriten entwickelt hat, und „Valediction“: Ein eher nachdenklicher und melodischer Song, der die sanftere Seite der Band zeigt.

„Pilgrimage“ wurde von Derek Lawrence produziert, der auch das Debütalbum der Band produzierte. Das Album verkaufte sich gut und erreichte Platz 14 der UK-Album-Charts. Es verhalf der Band auch dazu, in den Vereinigten Staaten und anderen internationalen Märkten Anhänger zu finden.

"Pilgrimage" (1971) ist das zweite Studioalbum von Wishbone Ash und ein entscheidender Schritt bei der Definition des unverwechselbaren Sounds der Band. Diese Wiederveröffentlichung ist eine originalgetreue Nachbildung der UK-Veröffentlichung in der Klapphülle und wurde auf 180g Vinyl gepresst.

The album begins with the title track (Blossom) a light and immediate song composed by Besson. Also composed by Besson are 'Kyoto dans la brume', inspired by a stay in Japan's imperial city, and 'La Course', originally written for three slapstick short films by Fatty Arbuckle starring Buster Keaton. Suarez's composition ' Sans laisser d'adresse' , was initially written for a stage play titled ' Ici Nougaro' , and his ' Le jour J a l'heure H' for a film by director Jean- Henri Meunier. 'Les Tuiles Bleues' is a nod to Suarez's late friend, Malagasy accordionist and singer, Regis Gizavo.

There are also three covers on the album, 'Answer Me' by Gerhard Winkler and Fred Rauch, a composition recorded by Keith Jarrett during his 2016 European tour; Besson cites Jarrett as a major influence. There is also Carla Bley's ' Ida Lupino' and Pat Metheny and Lyle Mays' ' Au Lait'. These and their own compositions result is Blossom' ', a highly accomplished album on which trumpet and accordion shine in equal measure.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

Gemastert und restauriert von den Original-Master-Transfers durch Patrick W. Engel bei TEMPLE OF DISHARMONY im Dezember 2021. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage dieses zeitlosen Thrash-Klassikers! Infernäl Mäjesty aus Toronto, Kanada, formierten sich 1986 zunächst unter dem Namen Overlord; ihr erstes Demo brachte ihnen im Underground und bei der einschlägigen Presse gleich genug Bekanntheit ein, um einen Deal mit Roadrunner Records an Land zu ziehen. Das selbstproduzierte Debüt „None Shall Defy“ wurde 1987 veröffentlicht und hat sich seitdem zu einem veritablen Kultklassiker gemausert. Thrasher in der ganzen Welt betrachten „None Shall Defy“ als eines der besten Thrash-Alben überhaupt, und als die beste Kanadische Scheibe auf ihrem Gebiet – sengend, aggressiv und ultra-heavy; trotzdem hat der Infernäl Mäjesty-Erstling bisher nie die gebührende Aufmerksamkeit erfahren. Das muss sich ändern, und dank des Re-release auf High Roller Records gibt es nun die Chance, dieses Stück Thrash-Geschichte (wieder) zu entdecken. Wenn man sich vor Augen hält, dass Infernäl Mäjesty sich nur ein Jahr vor Erscheinen des Albums gegründet hatten, werden seine hohe Qualität, das große musikalische Können und die extrem durchdachten Songstrukturen noch ein Stück beeindruckender. Während der Sound das Albums vielleicht schon auf vorbildliche Weise das Harte, das Klare und das Finstere ausbalanciert, wurde es von Patrick W. Engel (Temple of Disharmony) noch einmal sorgfältig remastered, um das Beste aus “None Shall Defy” herauszuholen. Was Reviewer niemals zu erwähnen vergessen ist, wie unglaublich evil das Album ist; nicht nur was den Sound angeht, sondern auch in der Art und Weise, wie die Band ihre Songs rüberbringt – es ist technisch, aber die Technik ist stets songdienlich; die Riffs werden ohne Ende variiert, es herrscht definitiv kein Mangel an brillanten Ideen, an komplexen Tempiwechseln und an starken Soli.

Darüber hinaus sind die Lyrics schön finster und streckenweise extrem blasphemisch – was will man mehr?

High Roller Records, 2. Pressung, 425 g/m² schwerer Kartonumschlag, Beilage, Poster, 180 g schwarzes Vinyl, limitiert auf 500 Stück Original-Vinyl-Transfer von Marcus Mossmann (R.I.P.) bei PHONOGRAPHIC ARTIFACTS im März 2014. Audio-Reinigung und Mastering von Patrick W. Engel bei TEMPLE OF DISHARMONY im März 2022. Schnitt von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen... Die ultimative Neuauflage! Sacrilege wurden im Juli 1984 in Birmingham gegründet. Die ursprüngliche Besetzung bestand aus Sängerin Tam, Gitarrist Damian Thompson, Bassist Tony May sowie Schlagzeuger Liam Pickering. Im Sommer 1985 wurde Pickering durch Andy Baker ersetzt. Nach einigen lokalen Auftritten nahmen Sacrilege erste Demo-Tapes auf, die in der englischen Punk/Hardcore-Szene sowie auch in Metal-Kreisen durchaus auf offene Ohren stießen. Daraufhin zeigte das Kleinstlabel C.O.R. (Children Of The Revolution Records) Interesse an der Band. Sacrilege begaben sich ins Studio, um die sechs Songs “Lifeline”, “Shadow From Mordor”, “At Death’s Door”, “A Violation Of Something Sacred”, “The Closing Irony” und “Out Of Sight” für die Mini-LP »Behind The Realms Of Madness« einzuspielen. Musikalisch folgten sie damit dem Beispiel von englischen Gruppen wie Broken Bones, English Dogs sowie Discharge, indem sie die Energie von Punk/Hardcore mit der Finesse des Metal-Riffings fusionierten. Von der Originalpressung auf C.O.R. sollen zum Erscheinungszeitpunkt alleine in Europa 11.000 Exemplare abgesetzt worden sein, dazu kamen noch einmal 15.000 Kopien über Pusmort in Amerika.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

Threewave is the complete synth trilogy from 36 and it unites three releases into a single, evolving statement shaped over five years. Spanning the Wave Variations, Symmetry Systems and Reality Engine releases, the project is rooted in self-imposed limitations and a carefully refined melodic palette that gave rise to a suite of interconnected transmissions. Minimalist sketches give way to warm, AI-era-inspired nostalgia, but always grounded by a distinctly human sensibility. Melancholic keys and glowing atmospheres balance precision with emotion before expanding into themes of perception, artificial intelligence and imagined realities. Together, these works make for a defining chapter in 36's partnership with the legendary Past Inside the Present.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

Im Gegensatz zu den früheren Alben der Lost Boys, die innerhalb eines bestimmten Zeitraums produziert wurden, entstand „Pale Bloom“ langsam und versuchte, einen Schöpfungsmythos in seinem Bernstein einzufrieren – eine Ursprungsgeschichte, die uralt und komplex ist, voller Geheimnisse und Metaphern, die weder einer Klärung noch eines Endes bedarf. Jede Veröffentlichung der Lost Boys wagt sich in neues musikalisches und lyrisches Terrain vor. Von allen greift „Pale Bloom“ am weitesten zurück in die Kindheit und findet unbewusst die Rhythmen und Erzählstile, die in den Zwängen einer religiösen Erziehung verwurzelt sind. Beim Durchforsten der vergessenen Akkorde, Refrains und Melodien aus alten Kinderreimen und Volksliedern entdeckten sie den Wunsch, diese überlieferten Klänge in Richtung persönlicherer Wahrheiten zu verändern. Dieser Impuls ist auf dem gesamten Album präsent und in Krugers ebenso klangvoller wie euphorischer Stimme zu hören, wenn sie die verschiedenen lyrischen Formen um ihre eigene Sehnsucht, Trauer und Begierde herumlegt und sie darauf vorbereitet, in der üppigen und großzügigen Subversion der erinnerten Rhythmen der Band zu landen. Im Gegensatz zu ihrem Auftritt auf „Heaving“ und „A Human Home“ sind die Streicher hier weniger affektiert und haben einen eher düsteren und ernsten Charakter angenommen. Sie streben nach einer komplexen Art von Himmel, der durch das Gewicht und die Bodenständigkeit der Grooves ermöglicht wird, die sowohl stoisch als auch ausdrucksstark sind. Die Gitarren bewegen sich frei zwischen weitläufigen, voluminösen Räumen und sind ebenso knirschend wie sanft. Kruger nahm das Album mit ihren Bandkollegen und ihrem engen Mitarbeiter André Leo über einen Zeitraum von sechs Monaten in verschiedenen Studios in Berlin auf. Das Album wurde von Simon Ratcliffe gemischt.

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

Hania Rani is a pianist, composer and musician who splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. She has written for strings, piano, voice and electronics and has collaborated with the likes of Christian Löffler, Dobrawa Czocher and Hior Chronik, and released an album with her Polish group teskno last year. She has performed at some of the most prestigious venues in Europe - from the National Philharmony in Warsaw, to Funkhaus in Berlin, to The Roundhouse in London (where she made her debut at the Gondwana 10thanniversary festival last October) and at festivals such as Open'er, Scope Festival and Eurosonic. Her compositions for solo piano were born out of a fascination with the piano as an instrument, and her desire to interpret its sound and harmonic possibilities in their entirety and in her own way.

LP comes with heavy weight reverse board sleeve including a double sided printed insert plus digital download code.

Esja is her debut solo album and for Rani it is her first, real, personal statement as an artist. "No hiding behind the "collaborations" or "projects" anymore. For the very first time, finally - just me, as I am".

Recorded at Rani's apartment in Warsaw (the piano room has a beautiful reverb and the space has become part art studio and part sound laboratory for Rani) and at her friend Bergur Þórisson'sstudio in Reykjavik, Esja is a series of beautiful melodic vignettes. Sensual, sensitive, rhythmic, atmospheric, free but harmonious, beguiling and hypnotic, collectively they project a sense of unlimited space and time.

Expect support from accross the media spectrum from Mojo to Uncut and Gilles Peterson and Mary Ann Hobbs on 6 Music to Radio 3 and beyond. Full servicing to the Gondwana Records datebase.

Robohands, das Projekt des Londoner Schlagzeugers/Komponisten Andy Baxter, gilt mit seiner experimentellen Erkundung des Jazz, Krautrock, Ambient und cineastischer Soundscapes als aufstrebender Name der internationalen Jazz/Ambient-Szene - mit über 10.000 verkauften LPs seiner fünf Alben und Auftritten bei den London Jazz, Montreal Jazz und Waking Life-Festivals. Die neue LP "Oranj" ist eine Hommage an die Pioniere der analogen Aufnahmetechnik mit Röhrenverstärkern, einem 1960er Fender Jazz-Bass, Fender Twin Reverb-Verstärkern und einer Vintage-Hammond-Orgel. Die Tracks vereinen die Wärme der 1960er/70er Jazz-Fusion und Soundtracks der Spät-1970er/80er mit modernen Einflüssen von Boards Of Canada bis Robert Glasper. Frenetische Uptempo-Nummern balancieren mit besinnlichen und experimentellen Momenten. Teils auf Tonband für zusätzliche Klangsättigung aufgenommen, ist es das bisher rohste und spontanste Album von Robohands.

NINJAZZY" unfolds as a deep, subtle, and versatile narrative. The title is no coincidence: like sonic ninjas, the producers act with silent precision, delivering a work of elegant sobriety and creative audacity, blending deep house, atmospheric dub, and introspective minimalism.

Reissue 2026

A hit born... three times over!

Released in 2005, "Born Again" was re-released in 2011 after becoming one of the most sought-after dance records in Europe.

It went straight to #1 in the Netherlands, where it also went gold!

Now available again on vinyl, remastered by Gianni Bini at HOG Studio, with versions by Balearic Soul, Pastaboys, and Funkerman.

The lyrics are truly powerful and different. I was born into a system that doesn't give a shit about you, or me, or life.

Don't be a victim of the things I do to survive, because I've always known, you Babylonians are good...

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album. Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets.

A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts. With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice. Momoko was produced by Momoko Gill, recorded at Total Refreshment Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

London-via-Accra artist BLACK FONDU shares his seven-track debut EP ‘BLACKFONDUISM’, following the underground momentum of singles ‘im not sleeping’ and the Steve Lamacq BBC 6 Music-premiered ‘holla back girl’. Available on vinyl, and with a self-directed video for ‘#music’, the project marks the first full expression of a voice emerging as one of the UK’s most uncompromising new forces.

‘BLACKFONDUISM’ captures that evolution in its rawest form. The EP came together quickly through instinct and freestyling, recorded between his room in London and a short period in Paris. Each track reflects a world he understood only after living through it. ‘IN D4 CLUB’ channels the exhilaration of acceleration, ‘BOYS’ explores the foundation provided by maternal love, ‘im not sleeping’ confronts denial after more than twenty revisions, ‘C00N V2’ marks a moment of creative rebirth, and ‘BLACK1E’ navigates the tension between self-perception and the world’s gaze. Closing track ‘#music’ distills the entire project into one statement.

Working alone has brought challenges, but he has learned to trust the emotional volatility that fuels the work. “I care so much and would die for this, but I cannot let it kill me. I have to trust myself the same way I trust myself when I make music.”

At 21, BLACK FONDU has carved out a sound that collides hyperpop, noise, rap, punk energy and abstract grime into something instinctive and volatile. Influenced by everything from Rachmaninoff to MF DOOM to Xiu Xiu, he writes, produces and performs every element, including the fractured visuals that accompany his tracks. Praise from BBC 6 Music, Pitchfork, NME, The Quietus, Pigeons & Planes, METAL and Line of Best Fit has positioned him as one of the most intriguing new voices in the UK underground, with explosive live shows across London, the UK and Europe.

With BLACKFONDUISM, he introduces a universe that refuses to sit still. “I wanted this EP to act as an introduction to my worlds. It felt important to put this out so I can do anything after.” He hopes listeners feel alive when they hear it, and jokes that he wants the record to “evolve music, even just a little.”

BLACK FONDU’s sound remains a paradox, abrasive and fragile, chaotic and meticulous, always guided by instinct. Or, as he puts it, “A bit fucked. But alive.”

Repress

Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a 'Mixed Version' cassette inspired and commissioned by the Good Morning Tapes series, followed by Digital, Vinyl and even Long Sleeve T-Shirt formats.

Originally conceived as a D.J. mixtape dedicated to friends and the time spent with them in the morning hours after the parties over (or beginning) - it quickly morphed into a soft focused meditation on all things warm and intangible.

'Take Me With You' fires off in all styles - the opening triptych of the extra-cosmic 'Alto', post-rave pianos of 'Goodness' and slow-dance-inducing 'Drifter' bring the attention inward — taking cues from a host of personal favorites including: 'Space' LP by Space, The Theater Of Eternal Music, Panda Bear's 'Person Pitch' , Atlas Sound's 'Let The Blind Lead...', Arthur Russell's 'World Of Echo', Suzanne Ciani's 'Buchla Concerts: 1975', The Microphones 'The Glow Pt. II' & 'Mount Eerie', A mixtape of Krautrock from DJ Ivan Berko and most definitely Holger Czukay, 'Take Me With You' is a fresh turn for Naples as he ascends into a blend of his most personal work to date — touching on trip-hop, psychedelic pop, ambient house, and much more along the way.

Make no mistake - 'Take Me With You''s message is undoubtedly about escapism, given away by its happy-abductee cover art done by the legend Biscuit— but first and foremost it reflects on that lingering feeling one gets when walking away from the ones they love.

As the man who basically brought the conga into the modern age with his innovative multipercussion set-ups and tunable congas, and as a former member of Dizzy Gillespie and Stan Kenton’s bands, Cándido Camero Guerra a.k.a. Candido already had a long and storied career when he cut Dancin’ and Prancin’ for the Salsoul label in 1979 at the age of 58. So, you might have been excused at the time for assuming this was just another case of an old-timer trying to cash in on the disco craze, right? But you would have been very, very wrong…the record was pure brilliance, as the infusion of Candido’s Latin conga beats into the disco-fied 4 x 4 syncopated rhythm proved irresistible, revolutionizing the sound of underground disco while pointing the way to the house music to come. Indeed, both “Jingo” (an unstoppable version of the Olatunji classic) and “Thousand Finger Man” are still DJ favorites. Speaking of DJs, we’re putting this one out on black vinyl, perfect for queueing up and spinning. for A must for any dance music library!

Nach einem super Jahr mit Auftritten mit LCD Soundsystem in den USA und einer Reihe abgefahrener Festivals in Großbritannien und Europa, machen Mermaid Chunky den Sack zu mit einer richtigen Double-A-Side-Remix-12"-Platte für DJs, die noch an Schallplatten glauben. Zuerst bringen die New Yorker Legenden Justin Strauss und W. Andrew Raposo von Midnight Magic ,céilí" ins Haus, tauschen barfüßige Felder gegen die Schweißboxen des Big Apple, es klingen Dur-Akkorde, alle sind ein bisschen wild. Auf der anderen Seite gibt es die Version von Peach von ,chaperone", ein Rhythmus-Ausbruch, der die chaotische Euphorie des Originals in House-Musik-Manna verwandelt: kalte Maschinen, warme Herzen, kein Schlaf.

Tales from Topographic Oceans (Super Deluxe Edition) is the definitive version of Yes' ambitious sixth album, the record that stands as one of the most sprawling and intricate works of the progressive rock era. This expansive album version includes twelve CDs, two LPs, and a Blu-Ray disc. Introducing, a newly mastered/remastered version of the original album by Bernie Grundman for vinyl and CD. Delve deeper with new 2026 Steven Wilson remixes of the core album, including instrumental versions, alongside a treasure trove of previously issued rarities. This collection is further enriched by portions of two previously unreleased live performances from the legendary Tales tour. A Blu-Ray disc completes the collection with Steven Wilson's new mixes, including the album in immersive Dolby Atmos and 5.1 Mix DTS-HD MA.
Tracklist: 11CD + Blu-Ray
Disc 1 Original Album Remastered
1. THE REVEALING SCIENCE OF GOD 22:01
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 2
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 3 Steven Wilson 2025 Remixes
1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 4
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 5 Steven Wilson 2025 Instrumental Mixes
1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 6
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 7: Rarities
1. THE REVEALING SCIENCE OF GOD (Single Edit) [3:54]
DANCE OF THE DAWN
2. THE REMEMBERING (Single Edit) [2:50]
HIGH THE MEMORY
3. THE ANCIENT (Single Edit) [3:26]
GIANTS UNDER THE SUN
4. RITUAL (Single Edit 1) [4:20]
NOUS SOMMES DU SOLEIL
5. RITUAL (Single Edit 2) [3:47]
NOUS SOMMES DU SOLEIL

6. THE REVEALING SCIENCE OF GOD (Version 1) [23:36]
DANCE OF THE DAWN
7. THE REMEMBERING (In Progress) [20:36]
HIGH THE MEMORY
8. THE ANCIENT (In Progress) [17:18]
GIANTS UNDER THE SUN

Disc 8: Rarities
1. THE REVEALING SCIENCE OF GOD (In Progress)* [27:50]
DANCE OF THE DAWN
2. THE ANCIENT (In Progress 2)* [19:30]
GIANTS UNDER THE SUN
3. THE REVEALING SCIENCE OF GOD (In Progress 2)* [21:52]
DANCE OF THE DAWN

Disc 9: Rarities
1. THE REMEMBERING (In Progress 2)* [20:42]
HIGH THE MEMORY
2. RITUAL (In Progress)* [24:37]
NOUS SOMMES DU SOLEIL
3. THE REVEALING SCIENCE OF GOD (Version 2) [22:23]
DANCE OF THE DAWN

Disc 10: Live 1973
1. THE REMEMBERING (Live TBD 1973)*
HIGH THE MEMORY
2. THE ANCIENT (Live TBD 1973)*
GIANTS UNDER THE SUN
Live at Capitol Theatre, Cardiff, Wales, December 1, 1973
3. THE ANCIENT* [19:55]
GIANTS UNDER THE SUN
4. RITUAL* [20:41]
NOUS SOMMES DU SOLEIL

Disc 11: Live at Hallenstadion Zürich, Zürich, Switzerland, April 21,1974
1. AND YOU AND I* [10:10]
I. CORD OF LIFE
II. ECLIPSE
III. THE PREACHER THE TEACHER
IV. APOCALYPSE

2. CLOSE TO THE EDGE* [19:12]
I. THE SOLID TIME OF CHANGE
II. TOTAL MASS RETAIN
III. I GET UP I GET DOWN
IV. SEASONS OF MAN

3. THE REVEALING SCIENCE OF GOD* [14:38]
DANCE OF THE DAWN

Disc 12: Live at Hallenstadion Zürich, Zürich, Switzerland, April 21,1974
1. THE ANCIENT* [20:12]
GIANTS UNDER THE SUN
2. RITUAL [23:00]
NOUS SOMMES DU SOLEIL

Blu-Ray:
2025 Dolby Atmos Mix
2025 5.1 Mix DTS-HD MA
2025 Stereo Remix
2025 Stereo Remaster
2025 Instrumental Mix

1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY
3. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
4. RITUAL [21:35]
NOUS SOMMES DU SOLEIL


[a] a1 THE REVEALING SCIENCE OF GOD [22:01]

[c] b1 THE REMEMBERING [20:38]

[e] c1 THE ANCIENT [18:34]

[g] d1 RITUAL [21:35]

●STAY BY MY SIDE (Youth Of Roots)
This is the title track from Young Israelites' 2021 debut EP, which made them a household name.
Its catchy, pop melody has captured the hearts of reggae fans worldwide, and Youth Of Roots' KON RYU has covered it in Japanese.
It blends seamlessly with the song like a long-time favorite, bringing out the original's charm with a new brilliance.

●STRAWBERRY GIRL (Young Israelites)
A popular song that shines with sweetness in Youth Of Roots' repertoire, which is filled with roots-conscious, message-driven songs.
Young Israelites' English cover, with its melancholic vocals, further enhances the quality of the original.


YOUTH OF ROOTS
A roots rock reggae band formed in Kanagawa in 2016. Their multi-generational sound and spiritual musicality, rooted in their experiences in Jamaica,
define their sound. They've released numerous singles, including their latest album, "LOVE IS THE ANSWER."
They connect with their audiences at live shows, conveying the spirit of "One Family." Their overwhelming sense of unity and sincere message transcends
borders, earning them praise from international fans as "the best reggae band."

[YOUNG ISRAELITES]
A rocksteady/roots reggae band consisting of three members from Israel. Building on a vintage Jamaican sound, their familiar melodies and soulful,
passionate performances have garnered attention from reggae fans worldwide. Since their debut, they've released a string of EPs and full-length albums,
and have expanded their global reach, including airing on the BBC and performing at the world's largest reggae festival, ROTOTOM SUSPLASH.
This new-generation band vividly revives the spirit of rocksteady and roots reggae for the modern era.

Miguel's breakout debut album, ‘All I Want Is You,’ makes its long-awaited vinyl debut, pressed on bold red opaque vinyl. Featuring R&B staples like "Sure Thing", "All I Want Is You", "Girl With the Tattoo Enter. lewd," and more.

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

,Dirt Buyer III" fängt mit einem Song über Sport an. "Baseball/ Is somethin'/ I'll never get, but I/Sleep on it/ Wake up/ And try again", singt Joe Sutkowski zu einer zunächst langsamen, dann dröhnenden verzerrten Gitarre. Aber natürlich weiß jeder, der mit der emotionalen Tiefe der Musik von Dirt Buyer vertraut ist, dass Sutkowski nicht einfach nur über Amerikas Lieblingsfreizeitbeschäftigung singt. ,Es geht darum, mit bestimmten Erwartungen aufzuwachsen und sich an sie zu halten, nur weil man gesagt bekommt, dass man das tun soll", erklärt Sutkowski. ,Der Song handelt davon, Autonomie und Unabhängigkeit zu erlangen." Gleich zu Beginn kehrt Dirt Buyer III zu den Ursprüngen zurück, zu den in der Kindheit fest verankerten Brüchen, um ein Album zu schaffen, das von da an ein viszerales Dokument der Bewältigung derselben Prüfungen im Erwachsenenalter ist. Als ,Dirt Buyer II" 2023 erschien, hatte es bereits drei Jahre lang in der Schublade gelegen. Zu diesem Zeitpunkt hatte Sutkowski bereits alle Songs für ,Dirt Buyer III" geschrieben, während einer besonders turbulenten Phase seines Lebens. Anstatt wie früher die für ein Album notwendige Anzahl an Songs zu schreiben und dann direkt ins Studio zu gehen, hatte er hier mehr als zwei Dutzend Tracks angesammelt. Nur wenige Wochen, nachdem "II" veröffentlicht worden war, nahm Sutkowski "III" auf. ,Ich war so bereit, etwas anderes zu machen", erklärt er. Er war bereit, diese Jahre hinter sich zu lassen. Genauso wie es einen klanglichen Sprung von den selbstgemachten Aufnahmen von "Dirt Buyer" zum moderaten Studio-Polish von "Dirt Buyer II" gab, hat Sutkowskis Musik zwischen den Alben wieder eine logische, aber substanzielle Entwicklung durchlaufen. Das Grundgerüst ist dasselbe: zerklüftete Akustikgitarren, elektrische Riffs, die mal herbstlich, mal bissig und übersteuert klingen, Schlagzeug, das mit dem selben verzweifelten Tempo vorwärts taumelt, mit dem Sutkowski diese Jahre durchlebt hat. Und dann seine Stimme über allem: klagend, sich windend, manchmal brüchig und manchmal voller neuer Kraft. Getragen von den soliden Strukturen dieser Songs und einer kraftvolleren Produktion präsentiert Dirt Buyer III die bisher vollendetste und eindringlichste Version von Sutkowskis Sound. Im Oktober 2023 traf sich Sutkowski mit seinen Freunden Hayden Ticehurst und Chris Cubeta im Brooklyn Studio G. Er zeigte ihnen alle Demos, und gemeinsam wählte das Trio die ,stärksten Stücke aus der Reihe" aus, wobei sie sich auf die 11 Kompositionen konzentrierten, die auf "III" zu hören sind. ,Wir wussten, welche Songs es werden würden, und haben uns direkt an die Arbeit gemacht", sagt Sutkowski. Trotzdem nahmen sie sich Zeit, um alles genau richtig hinzubekommen, und verteilten die Aufnahmen, das Abmischen und die letzten Feinheiten über ein ganzes Jahr. Das Ergebnis ist ein Dirt Buyer-Album, auf das Sutkowski so stolz ist wie nie zuvor. Er sagt: ,Es spiegelt am besten wider, wo ich als Songwriter gerade stehe ."