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FOR FANS OF: Suicidal Tendencies, Metallica, Exodus, Testament, Vio-lence, Forbidden, Power Trip, Cro-Mags
Im Gegensatz zu den Legionen, die versuchen, den Crossover für die heutige Zeit neu zu erfinden, orientiert sich Take Offense to am Sound und der Attitüde ihrer kalifornischen Vorbilder - Bands wie Cryptic Slaughter, EXCEL und Suicidal Tendencies, die sich ebenfalls stark an die Skate-Ästhetik anlehnten, aber den Sunset Strip und die angrenzenden Gitarrengötter wie George Lynch, Warren Di Martini und Eddie Van Halen verehrten.

T.O.tality ist ein Liebesbrief an diese Szene und diese Zeiten, vorgetragen in Form einer Armada von vierzehn mit Nitro bestückten gepanzerten Fahrzeugen, die die Barrikaden der Genre-Konventionen sprengen und den Clip mit frischen Ideen füllen. Es ist eine Hommage an lokale Helden mit vertrauten Ansätzen, die ganz und gar und zweifellos Take Offense sind. "Es gibt Sounds und Klänge, die mich stark beeinflusst haben, und ein Teil davon stammt aus dem Kalifornien der 1980er Jahre", sagt Greg Cerwonka mit Nachdruck. "Der Gitarrensound, vor allem bei Bands aus Venice Beach,
wo einige der großen Crossover-Bands herkamen, hat seine Wurzeln im Hair Metal - sie waren davon umgeben. Während Crossover also definitiv ein anderer Stil und Sound ist, ist das, was einige dieser Hair-Metal-Gitarristen gemacht haben, unbestreitbar - wir versuchen, das in einer Weise zu übernehmen, die für uns Sinn macht."Take Offense sind bereit, Ihre Stadt mit ihrem bisher überzeugendsten Album zu erobern. Aber egal, wie weit T.O.tality kommen, in ihrem Herzen werden sie immer die Band sein, die am Generator an der Laderampe hängt.

FOR FANS OF: Suicidal Tendencies, Metallica, Exodus, Testament, Vio-lence, Forbidden, Power Trip, Cro-Mags
Im Gegensatz zu den Legionen, die versuchen, den Crossover für die heutige Zeit neu zu erfinden, orientiert sich Take Offense to am Sound und der Attitüde ihrer kalifornischen Vorbilder - Bands wie Cryptic Slaughter, EXCEL und Suicidal Tendencies, die sich ebenfalls stark an die Skate-Ästhetik anlehnten, aber den Sunset Strip und die angrenzenden Gitarrengötter wie George Lynch, Warren Di Martini und Eddie Van Halen verehrten.

T.O.tality ist ein Liebesbrief an diese Szene und diese Zeiten, vorgetragen in Form einer Armada von vierzehn mit Nitro bestückten gepanzerten Fahrzeugen, die die Barrikaden der Genre-Konventionen sprengen und den Clip mit frischen Ideen füllen. Es ist eine Hommage an lokale Helden mit vertrauten Ansätzen, die ganz und gar und zweifellos Take Offense sind. "Es gibt Sounds und Klänge, die mich stark beeinflusst haben, und ein Teil davon stammt aus dem Kalifornien der 1980er Jahre", sagt Greg Cerwonka mit Nachdruck. "Der Gitarrensound, vor allem bei Bands aus Venice Beach,
wo einige der großen Crossover-Bands herkamen, hat seine Wurzeln im Hair Metal - sie waren davon umgeben. Während Crossover also definitiv ein anderer Stil und Sound ist, ist das, was einige dieser Hair-Metal-Gitarristen gemacht haben, unbestreitbar - wir versuchen, das in einer Weise zu übernehmen, die für uns Sinn macht."Take Offense sind bereit, Ihre Stadt mit ihrem bisher überzeugendsten Album zu erobern. Aber egal, wie weit T.O.tality kommen, in ihrem Herzen werden sie immer die Band sein, die am Generator an der Laderampe hängt.

One of the shining beacons of the UK post-metal scene, Bossk have steadily built up an unrepentantly loyal following since 2005. Before they reach the big 20, the band are taking this opportunity to take pause and reflect on their past and all the hard graft that has led them to become one of the most lauded bands in the genre. .4, the latest in a series of numbered releases that presents material outside the remit of Bossk’s full-length album output, is a celebration of those 20 years and provides an enticing aperitif for their 3rd album proper, to be released sometime in 2025. As is tradition with these numbered releases, .4 is not a Bossk album in the conventional sense, instead forging a more experimental path by presenting re-worked versions of some old favourites, as well as a smattering of re-recorded songs that only the most obsessed Bossk fan will be familiar with. One deciding factor that emboldened Bossk to celebrate their past is the amicable departure of vocalist Sam Marsh due to his permanent relocation to the United States. The band wanted to give Sam an epic recorded send-off and the colossal 13-minute Events Occur in Real Time provides a fitting farewell for the vocalist, who’s guttural razor-wire screams have provided tectonic shifting textures to the band since their inception in 2005. Acting as the centrepiece of .4, this is the first studio take of the song ever recorded, conceived as it was in 2008, just months before the band went on temporary hiatus.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

One of the true masterpieces in the Verve catalogue, Kenny Burrell’s Guitar Forms features unforgettable arrangements by Gil Evans. Nominated for three Grammy awards in 1966, Guitar Forms stands as Burrell’s definitive musical statement.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

Limitierte Jubiläumsauflage der 2014er Xiu Xiu-LP "Unclouded Sky" auf weiss-silberfarbigem Vinyl. Das von Shahzad Ismaily in Sigur Rós' Studio auf Island produzierte Album enthält neun mit einer 1953er Silvertone-Gitarre aufgenommenen Interpretationen amerikanischer und karibischer Spirituals, die ursprünglich zwischen 1850-1920 komponiert wurden, und zusätzlich mit Field Recordings versehen sind, die Xiu Xiu-Frontmann Jamie Stewart im Dschungel von Guyana machte.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire. Due to be released by BBE as both a vinyl and on digital From The Fire is an album of Soul-Jazz with a serious environmental and social messages as well as one which blends classical music, hip-hop and influences from Roy Hargrove, Bill Evans and Herbie Hancock. Indeed it is Roy Hargrove's studio techniques evident in his work with the RH Factor that Audrey credits as a major factor in her producer role here. As well as her solo work, Melbourne born Audrey Powne has also worked as a session player with acts as diverse as Maceo Parker, Midnight Oil, Jimmy Barnes, Masta Ace and the Grammy nominated band The Teskey Brothers. With testimonies and positive reviews from Gilles Peterson, Earmilk, Bandcamp Daily, tracks on the Sunny Side Up compilation and performances on Boiler Room Audrey Powne is a supreme talent whose star is on the rise. From The Fire is destined to become a future classic.

Cherry Red Vinyl, limitiert auf 1000 Exemplare. Die Punk-Veteranen von Hot Water Music freuen sich, die Veröffentlichung ihren brandneuen Albums Vows anzukündigen, welches am 10.05.2024 via End Hits Records erscheint. Unter der Leitung des erfahrenen Produzenten Brian McTernan gibt es auf Vows hochkarätige Gastauftritte von Thrice, Dallas Green (City and Colour // Alexisonfire), The Interrupters, Daniel Fang und Brendan Yates (Turnstile) und Popeye Vogelsang (Calling Hours // ex-Farside). Drei Jahrzehnte, 10 Alben und immer noch ein fester Pfeiler des amerikanischen Punks - Hot Water Music sind nach wie vor eine Quelle des Einflusses und der Inspiration für Bands auf der ganzen Welt. Auf dem kommenden Album Vows bleibt das Ziel der Band dasselbe wie immer: kontinuierliche Weiterentwicklung mit einem scharfen Blick in die Zukunft. "Das Thema, das während der Arbeit an diesem Album immer wieder auftauchte, war das Wachstum - wie das Schreiben eines Songs, die Aufnahme eines Albums oder das Dasein in einer Band so ist, als würde man einen Samen pflanzen und ihm beim Wachsen helfen", so die Band. "Wir denken, dass das viel damit zu tun hat, dass wir zurückblicken und erkennen, dass wir es in 30 Jahren geschafft haben, etwas Besonderes zu schaffen, das wir alle wirklich lieben" Darüber hinaus markiert "Vows" ein weiteres brillantes Kapitel in der fortgesetzten Zusammenarbeit mit dem gefeierten Produzenten und Hardcore-Legende Brian McTernan, der mit der Band an "A Flight And A Crash" (2001), "Caution" (2002) und "The New What Next" (2004) gearbeitet hat, die oft als Hot Water Music-Klassiker bezeichnet werden. Ohne zu wissen, wie es weitergeht, begann die Band mit dem Schreiben der neuen Songs mit der einfachen Absicht, Musik zu veröffentlichen, um diesen hart erarbeiteten Meilenstein zu feiern, sei es eine Single, eine EP oder ein ganzes Album. Sie waren sich jedoch absolut sicher, dass sie keine neue Platte nur um der Sache willen machen wollten; diese Platte musste aufregend, unerbittlich und vor allem notwendig sein. "Jeder hat viel Zeit damit verbracht, über die Reise nachzudenken, die uns hierher gebracht hat, und darüber nachzudenken, was wir von nun an tun wollen, während wir dieses Album machen", fasst die Band zusammen. "Wir hoffen, dass sich dieses Album für jeden, der es hört, wie eine Feier unserer Geschichte und Zukunft anfühlt. Das ist es definitiv und so fühlt es sich für uns an."

Celebrating a decade of hip-hop excellence with the 10th Anniversary Vinyl Reissue of Statik Selektah's groundbreaking album, Extended Play. Pressed onto high-quality vinyl and housed in a silver laminated jacket, this limited edition reissue pays homage to the timeless collaboration between the legendary producer and some of the finest wordsmiths in the game.

Extended Play showcases the essence of authentic hip-hop, seamlessly blending old-school vibes with innovative production. Featuring an all-star lineup of rap luminaries, including Action Bronson, Mac Miller, Joey Bada$$, Sean Price, Raekwon, Black Thought, Prodigy, Evidence, Termanology, Posdnous of De La Soul and Talib Kweli amongs several others, this album is a masterclass in lyrical prowess and beatsmithing finesse.

Immerse yourself in the artistry of Statik Selektah as he crafts intricate beats that serve as the canvas for the lyrical dexterity of hip-hop's finest. Each track is a testament to the genre's evolution, capturing the essence of both its roots and its future. From the gritty realism of Sean Price's verses to the introspective musings of Mac Miller, every moment on this album is a revelation.

This commemorative vinyl reissue not only offers listeners a chance to experience the album in its purest form but also provides a glimpse into the collaborative spirit that defines hip-hop culture. The album cover artwork has been meticulously restored and printed onto a silver laminated jacket. Join us in celebrating the legacy of Extended Play and the everlasting impact of Statik Selektah's musical vision!

Lloyd Banks is gearing up for the release of The Course Of The Inevitable, his first studio album in over a decade. Having previously set the stage with a few cinematic teaser trailers and the album cover, Banks has now come forward to confirm the official release date for the upcoming project, as well as the tracklist and guest appearances to be expected.

For the most part, Banks will be flying solo on COTI, with only five of the eighteen tracks including featured artists. On that front, we're looking at appearances from Roc Marci, Benny The Butcher, Styles P, Sy Ari Da Kid, and Vado. Other than that, however, the stage is largely set for the Punchline King, who will likely have much to say on his fourth studio album.

After a killer streak of releases with the likes of Real Bad Man, Nicholas Craven and Futurewave, extremely prolific Detroit legend on the rise Boldy James is closing up 2022 with "Be That As It May", collaboration full-length with Roman beat maker Cuns. Featuring guest appearances by Lord Apex, Bo Skeet, Taj Mahal and Darnell Williams, the two crafted a gorgeous album, with Boldy tapping into his Mary Poppins bag of lyricism for yet another full-length album of captivating bars.

A psychedelic storm rages over The Netherlands, and its name is Heath. Their upcoming debut album “Isaak’s Marble” marks the beginning of a long story and opens the door to the world of Heath, where anything is possible.

Odd time signatures, blazing harmonica, and driving guitars accompanied by narrative vocals create an enchanting journey. Heath is known for their energetic live shows, which together with carefully drawn out eclectic songs seamlessly blend into an atmosphere that is both hypnotic and liberating.

Heath is also playing Roadburn 2024 Roadburn Festival Artistic Director Walter Hoeijmakers: “It’s rare that we book a band for Roadburn before they even release their debut album, but we believe Heath are a rare band. You may not know them yet (or maybe you do, and that’s cool too), but we were lucky enough to get an early listen to ‘Isaak’s Marble,’ which will be released by Suburban Records on 10 May, and we knew immediately they needed to be on our stage this year. In Heath, we hear instrumental breadth and organic vocal melodies combine in ways that draw from classic influences like The Allman Brothers, Grateful Dead, or even the Red Devils, but they are not a throwback at all. They are a proper and vital new band, and their energy bleeds into every dynamic second of ‘Isaak’s Marble.’ We cannot wait to introduce them to the Roadburn audience, and we know they’ll be talked about afterward as a highlight for those who were there.”

the debut release of naples based house music producer fabrizio fattore.

he released first single on world peace(run by joe clausell&gigi testa),it’s nice cosmic
jazzy fusion deep house.

since then we have been paying attention to his music.

our release is revival of classic detroit techno and house.

a1 “deep blue” is simply killer detroit techno which reminds us early 90’s stuff.

b1 “passengers to mars” is his trademark cosmic deep house.

b2 “moon temple” is jazzy new age down tempo.if you like some slow stuff of kuniyuki,
you will love it.

music sounds classic but we’re feeling classic is new.

hope you like!

New Zealand's Marlon Williams has quite simply got one of the most extraordinary, effortlessly distinctive voices of his generation-a fact well known to fans of his first, self-titled solo album, and his captivating live shows. An otherworldly instrument with an affecting vibrato, it's a voice that's earned repeated comparisons to the great Roy Orbison, and even briefly had Williams, in his youth, consider a career in classical singing, before realizing his temperament was more Stratocaster than Stradivarius. But it's the art of songwriting that has bedeviled the artist, and into which he has grown exponentially on his second album, Make Way For Love, out in February of 2018. It's Marlon Williams like you've never heard him before-exploring new musical terrain and revealing himself in an unprecedented way, in the wake of a fractured relationship. In early December, Williams and his longtime girlfriend, musician Aldous (Hannah) Harding, broke up. While personally wrenching, the split seemed to open the floodgates for Williams as a writer. "_I wrote about fifteen songs in a month," he recalls. Sure enough, while Make Way For Love draws on Williams' own story, in remarkably universal terms it captures the vagaries of relationships that we've all been through: he bliss (opener "Come To Me"); ache ("Love Is a Terrible Thing"); nagging questions ("Can I Call You"); and bitterness ("The Fire Of Love", whose lyrics Williams says he "agonized over" more than any). And there's "Nobody Gets What They Want Anymore", a duet with Harding, recorded after the two broke up, with Williams directing Harding's recording via a late-night long distance phone call. "We finally got to talk it out," he adds. "We still love each other very much."If "breakup record" is a trope-and certainly it is-then Marlon Williams has done it proud. Like the best of the lot, Make Way For Love doesn't shy away from heartbreak, but rather stares it in the face, and mines beauty from it.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

MODECENTER legen mit dem neuen Album "Altes Glück" ein dichtgewobenes, 8 Lieder umfassendes eindrucksvolles musikalisches Statement vor. Kantig, "hart" und einnehmend zugleich, in einem post-punkigen, un-rockistisch rockenden, ass-kickendem Sinn. Mit Hits wie "Endurance Eurodance" und 7 anderen lohnt der Besuch beim Vierer-mit-Gitarren MODECENTER auch ganz ohne Textilien-Erwerb. Es ist ein neues, kein altes Glück, dass dieses 8 Song-Album der in Wien verorteten Band MODECENTER so ist, wie es ist und genauso daherkommt, wie es daherkommt. MODECENTER sind dabei, wie seit ihren Anfängen, ein Quartett. 2019 veröffentlichten sie ein erstes Tape, es folgten das gleichnamige Album (2021, Numavi Records) und das Mini-Album "Peace" (2022, Rock Is Hell Records). Und sie spielten Konzerte! Wie das Bands eben so tun, außer es ist Pandemie, während derer und danach der ganzen Welt eigentlich nur mehr schwindlig im Schädel ist und alles in einer solchen Stupidität aus dem Ruder läuft, dass es einem schon eine perverse Errungenschaft erscheint, wenn a-landführende Spitzen-Politiker zweifelsohne dümmer sind als der Durchschnitt der Bevölkerung - die Intelligenz verteilt sich nach unten um, die Kohle geht nach oben, aber wer will schon immer dem money followen? Transparent Light Green Vinyl

Lapell's deft lyrics jostle with love song tropes, grappling with love's finitude and the irony of how codependency and longing are revered in popular music. A ghost story is woven through the album: waltzing in the dusty barroom country of "Blue Blaze," buried in the superstitious lyrical streak of "Rattlesnake" and audible in a wheezing organ as it shuts down at the end of "Footsteps."

Still, "Anniversary" emerges as an earnest celebration of commitment. Earworms like "Anniversary Song" and "Someone Like You" showcase intricately layered harmonies, while closer "Stars" affirms that there's no place the speaker would rather be than with the one she loves. Dekker and Lapell assembled a stellar cast of musicians to support Lapell's powerhouse vocals, piano, harmonica and signature fingerstyle guitar.

The core band includes Dan Fortin on bass, Jake Oelrichs on drums, and Tania Gill on the church's piano, harpsichord and organ. Rounding out the ensemble's sensitive orchestral arrangements are Rebecca Hennessy (trumpet), Rachael Cardiello (viola), Michael Davidson (marimba and vibraphone) and Joe Lapinsky (pedal steel), who also engineered and mixed the record. Abigail Lapell has garnered three Canadian Folk Music Awards, hit number one on Canadian folk radio and reached a staggering 40 million + streams across digital services. She has toured widely across Canada and the U.S, and will be touring internationally (UK, EU, AUS and more) in 2024.

„Ladies Of The 80s Collected“ zeigt das Beste aus den 80‘s, mit Bnads und Künstlerinnen, die weltweit Nummer 1 Hits hatten. Zu den Titeln gehören der Smasher "How Will I Know" von Whitney Houston, Pat Benatars "Love Is A Battefield", Kylie Minogues Mitsing-Hit "I Should Be So Lucky", Prince-Schützling Sheila E. The Glamorous Life", Teenage-Popstars-Songs von Debbie Gibsons "Only In My Dreams", Tiffanys "I Think We're Alone Now" neben Popsongs von The Bangles' "Manic Monday", Propagandas "Duel" und 19 weitere Tracks der "Ladies Of The 80s".

"“A jazz artist to watch” (NPR) and “a virtuoso in the truest sense of the word” (JazzTimes), Morgan Guerin spent nearly a year crafting his multi-dimensional Tales Of The Facade, layering instruments and sounds track upon track. And while an impressive amount of the album is performed solely by Guerin, he also enlisted stellar collaborators, including Georgia Anne Muldrow, Melanie Charles, Cisco Swank, Zacchae’us Paul, J Hoard, and Kokayi. Despite Guerin’s widespread acclaim as a jazz artist, it would be reductive to call this a ""jazz album." "It touches a lot of different periods and styles of music," Guerin explains. "Wayne Shorter and John and Alice Coltrane are big influences, but so are people like Stevie Wonder, Marvin Gaye, Minnie Riperton, and Kendrick Lamar. I wanted all of those sounds to be represented. ” What’s left in the grooves obliterates concepts of genre even as it celebrates genres themselves. Now signed to Candid, Guerin’s music will finally reach an audience as vast and diverse as his musical vision."

CLUB OF PROBLEMS ist eine ganz neue Band aus Freiburg im Breisgau - die vier Typen dagegen sind längst erfahrene Hasen auf dem Gitarrenpop-Dancefloor. Jeremy James, Purple Reinhard, John Pelzer, Jackson Bollock - man kennt sie u.a. von Gringo Mayer, Prisoners Of Freedom, The Seducers, Serial Off, Neo Rodeo, Backslide, BAR, Virage Dangereux, Nicolas Sturm, Jimi Satans Schuhshop, Achtung Rakete, The Hojos, Institute Of Modern Melancholy. Außerdem: Unbedingt "Öffentliche Telefonbuchlesung" antesten.. Endlich bringen sie für ein gemeinsames Debütalbum all ihre Qualitäten zusammen: Melancholisch und schwer, dabei tanzy und mindestens so beknackt wie diese Zeit. Zwischen Pop, Folk, RnR und Punkrockbasis, zwischen Irrsinn, Unsinn und Sinnlichkeit. 11 Songs, die unsere alltägliche Gegenwart demontieren und als absurd ohrenschmeichelnde Stücke neu zusammensetzen. As big as it get"s!

We are really excited to share ‘Make It Happen', the second single from Wonder 45 in the lead up to their album release and also the A side to the new 7” record!

It’s a positive, uplifting, track filled with in-your-face brass, dirty wah guitar, and group vocals that fans of “Sly and The Family Stone” will instantly fall in love with. It has already received praise from Craig Charles on BBC 6 Music in his “Funky Future Releases of 2024" show at the beginning of the year.
We would love you to give the track a listen and consider it for promotional play on your radio shows in the lead up to the official release. The band have a live show scheduled for Monday 29th January at 606 Club in London, so if you’re interested in coming along to that too, please let us know.

Recorded in both Memphis and Texas and prominently featuring the amazing Bill Willis on Hammond B-3 (who doubles on bass pedals -- leaving this as one of the few blues albums without an official bassist), Jimmie's more subtle approach leaves lots of spaces to nail a groove that gets deeper as the album progresses.

Guests like James Cotton on harp and longtime associate singer Lou Ann Barton (who just about steals the show on the songs where she duets with Vaughan) inject extra spice, but the singer/ guitarist has crafted a compelling slice of contemporary blues that blends traditional elements in a distinctive way....Rootsy yet polished tracks like the R&B swamp of "Without You" and the Texas soul of Johnny "Guitar" Watson's "In the Middle of the Night" (featuring Stevie Ray's Double Trouble rhythm section) crackle with taut energy and low-down soul. By forging an individual musical style, Jimmie Vaughan not only avoids all Stevie Ray comparisons, but has produced a remarkable album that truly sounds like no one else."

14 tracks, all great examples of real soul music, a mix of well-known classics, overlooked gems, and 4 original unreleased songs.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, San Francisco and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in!

A serendipitous encounter at an SF record store in the early 90s brought together local music aficionados DJ Dan and Jim Hopkins. Their collaboration birthed the legendary Electroliners project, channeling their shared passion for underground and funky sounds into the iconic left-coast rave anthem, 'Loose Caboose', now firmly nestled in your hands. Pooling their musical prowess, Dan and Jim embarked on a journey of sonic exploration, meticulously crafting their signature sound by dissecting samples and breakbeats, infusing the musical landscape with a revitalizing energy. As their reputation grew within the local scene, they found themselves tasked with supplying a track for a promotional CD-ROM by a burgeoning software company.

Through marathon sessions of digging, slicing, sequencing, and exchanging snippets over phone calls, Electroliners hit their creative stride. It was only natural to unveil their creation in the raw intensity of a live rave setting. Thanks to a connection with DJ DRC, they seized the opportunity, and the rest is history. Copies of the record flew off the shelves by the thousands locally, and its overseas acclaim, spearheaded by licensing through XL Recordings in the UK, cemented its status as a bona fide underground classic. But what exactly is an Electroliner you might ask? Jim sheds light on the inspiration: “I delved into books on trains at the public library,” he reveals. “Among them, 'Electroliner' caught my eye, a train line in the Midwest. Given the track's pulsating train horn, 'Electroliner' and 'Loose Caboose' simply clicked.”

'Loose Caboose' is an all-time classic, and still causes much damage on the dancefloor today. Yet another unmissable addition to the MC reissue catalogue, fully licensed from the artists, mastered and cut by Curve Pusher, and available once again available for purchase. Do not sleep.

Garth Erasmus is an artist and musician based in Cape Town, South Africa. 'Threnody for the KhoiSan' is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion 'Oscillations' at Akademie der Künste, Berlin.

His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices.

In this context the music on 'Threnody for the KhoiSan' takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action.. “Ever since I was an art student I have experimented with alternative materials to release me from the Western education values I received. When I started to make these instruments in the 1980s, my intention was to create art objects but when I discovered the sound they made, it unlocked a door that transported me deeper in my quest in the realization that I was on the right path.

In fact all instruments which appear on 'Threnody for the KhoiSan' are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non - academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues.

Song for Morenga
This song is dedicated to a guerilla leader, named Jacob Morenga, who was the leader of the nama/herero anti-german uprisings that occured between 1904 and 1907.

Amaseh Amen
This is a classic mouthbow piece that conjures the spiritual nature of Khoisan cultural praxis.

Gwaing Reverie
It was composed as a personal gift to the other members of newly formed electro-acoustic trio „Gwaing". „Gwaing" is an ancient Khoisan place name, meaning the mouth of the river.

Mcinci Song
A typical meditation on the traditional Mcinci flute. This flute was originally played by shepherds and was made of reed.

The Ascension of Milford Graves
This piece attends to capture the risen spirit of the legendary African American drummer Milford Graves. It was composed soon after his death in 2021.

Song for The Sisters of the Soil
A live improvisation dedicated to Lucelle and Melissa (The Sisters of the Soil) on the occasion of visiting them at their residence, known as „Oppieyaart" on the Cape Flats. On 10 September 2022 there is an online event with them at Kunsthaus Hamburg.

Glasgow’s Somewhere Press return with their inaugural vinyl release, a new album from Madelyn Byrd aka Slowfoam. Mining the seam between ecology and technology, Byrd offsets syrupy, dissociated electronics with sparse acoustic instrumentation and expressive field recordings.

The polyrhythmic pulse of the natural world surges through Byrd’s productions, and though the sounds are mostly electronic and strictly metered, a landscape teeming with insects, birds, and wildlife fills the horizon. We’re languidly ushered through the gates on the opening 'Enlightened Smudge on the Machine', juxtaposing glassy tones with flute (from Berlin-based sound artist Diane Barbé) and skittering percussion that could have been lifted straight off Björk’s 'Vespertine'. "No traffic, under the stem," a stoic voice muses while sounds dissolve into waterlogged ambience. There are hints of vintage West Coast new age music, but Byrds' over-arching theme is one of a contemporary digital reality slowly harmonising with its distant, bucolic past.

Field recordist Pablo Diserens provides some of the album's most arcane material, handing over environmental recordings of sulphur pools, Arctic terns and glacial streams. The lengthy 'Divine Morpho, Shimmering' deploys a swarm of insects, forming a looped, uneven rhythm that counters Byrd's pulsing electronics. Choral stems mesh with uncanny strings, blurring the line that separates artificial from organic sound sources. Byrd uses mutation and reconstruction as a form of "speculative melting" to bring us closer to utopia. On 'Like Phantom Memories In The Slinking Storm’, one of the album's most levitational moments, they tease twangy harp-lyre plucks into dubbed-out smudges, eventually given a reprise on 'Grief Rituals' where the same riffs are stretched into slower phrases, queered against giddy, xenharmonic drones.

Bird calls and tremulous exotica mark the brilliant 'Fragrant Dusking', and ‘Soft Body Virisdescence' takes us to a gurgling, kaleidoscopic climax, with electronic processes thrust into the foreground. 'Of Data & Delight' distills all the album’s sonic elements into a sort of delirious fever dream, using pitched animal calls to signal sensuality. It's not ambient, exactly, even if it shares space with the 3XL crew's sludgy eroticism, and it's not wholeheartedly electro-acoustic either. The record exists at a place of convergence, as one era wrestles with a new dawn, and real life glimpses high fantasy.

The third studio album by acclaimed R&B singer Tank, Sex, Love & Pain offers fans even more smooth, deep, seductive grooves. Originally released in 2007 by Blackground Records, the album debuted at number two on the Billboard 200, and was nominated for a GRAMMY for Best R&B Album. At just under one hour, the album features production from TImbaland, The Underdogs, St. Nick, and Tank himself. Hit singles include "Please Don't Go," and "Heartbreaker."

Wolfgang Valbrun, in Paris lebender New Yorker, Leadsänger der Ephemerals und Kooppartner von GUTS und Kraak & Smaak, trägt mit seiner unglaublichen Solodebüt-LP die Fackel aller großen Soulmusiker weiter. In 12 Songs setzt er sich mit der menschlichen Gebrechlichkeit auseinander, geprägt von gelebten Erfahrungen und seiner Wahrnehmung aktueller Ereignisse. Valbrun bewegt sich zwischen Soul, Rock und Blues und bietet introspektive Einblicke durch kompromisslose Texte, gepaart mit der unglaublichen Musikalität seiner Band. Nichts ist vom Tisch, "Flawed By Design" untersucht Beziehungen, Geld, Religion, Gier, wachsende Unruhen und den Antagonismus der Behörden gegenüber den Ausgegrenzten. Dieses erfrischende Werk befasst sich mit institutionellen und sozialen Fragen und fordert die Menschheit dazu auf, darüber nachzudenken, wer wir sind und wohin uns unser Handeln führen wird. Die physischen Formate enthalten je zwei exklusive Bonustracks.

Following on from 2022’s Sweat Your Prayers, Byron Yeates returns to Radiant Records with Time Machine, his second full release. The label head has established a signature production sound in an impressively short amount of time. Motifs teased in his previous output and that frequent his DJ sets are all at play here in a delightfully restrained fashion: Astral atmospherics, slick, pumping rhythms, playful basslines with skitting and flitting vocal chops are condensed into lush, club-ready arrangements that demonstrate Yeates’ deep dancefloor knowledge and razor-sharp production chops.

EP opener Liquid Sky drifts beyond the clouds and into the club for a hot and heavy hard-house hybrid workout: undulating low end, sumptuous stabs and ethereal pads are meshed together into a mature, modern any-time-of-the night club tool for discerning deejays and dancers alike.

The groove keeps giving-giving on Hyper-Hyper with stomping in-your-face drums, marching bass and vintage house themes stripped apart and put back together to form a track that sits comfortably in the sweet spot between contemporary techno and the more classic club moods Yeates’ has built a reputation for.
So too with Time Machine- the track’s swung bass and percs lay the foundation for a potent dance floor-ready number that touches on the classier strands of 90s tech and euro house, warped and reconstructed for 2023 dancefloors through Byron’s sleek and flirtatious sensibilities.

The EP rounds off with a collaboration Trip To Eclipse with fellow Irish trance auteur Spray. The result is a sophisticated exercise in groove control: Spray’s signature rolling bass sits delicately alongside Yeates’ vox chops and celestial synth moods to form a cutting edge, dreamy, trance-not-trance roller that concludes a sophisticated and refined statement of intent from Byron Yeates.

London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.

Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.

“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”

Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.

“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… the totem was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”

“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”

“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”

So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.

Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.

2024 Repress

Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.


“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful. No Represses / Limited 200 Copies.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

Underground house heads will very much be familiar with this tune. It has been circulating as a white label owned only by the coolest and most connected cats and now Detroit badman Marcellus Pittman does the right thing and gives it an official pressing on his own Unirhythm label. A-side jam 'Pick Yourself Up' (feat Crystal Procedures) is dusty, loopy, trippy house with swirling vocals adding to the late night feel, then 'Ode 2 Juan' slows things down to smoky basement house vibes with melancholic pads bringing hints of light to the muggy atmosphere.

In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

“Suddenly it’s ok to be a square” - Twelve Cubic Feet, a clear case of a band which should have been bigger than The Beatles but, for some malignant reason, became a blurry footnote in the history of underground music. Formed from the ashes of Exhibit A in the Spring of 1981, the band disappeared leaving no trace shortly after 1983. During their brief existence they released a series of stickers, a monthly newsletter, two cassette tapes and their incomparable ‘Straight Out Of The Fridge 10”, which was at the very top of our dream records to release since we started Sealed Records. Twelve Cubic Feet released this perfect 22 minute 7 track album in 1982 on Namedrop Records (home to Doof, Philip Johnson and Cold War and ran by Philip Johnson and 12CF guitarist Paul Platypus). It is a glorious scratchy DIY indie pop gem with a post punk spirit. The sound is naive and fragile yet very addictive. Based around jangly clean guitars, drums that are on the edge of falling apart, haunting keyboards and a female vocalist that has a knack for a golden pop hook. Hard not to fall in love with. It’s beautiful with a ragged charm that deserves to be heard by the masses. Anarcho Indie pop anyone?? The band played a lot of the anarcho punk haunts of the early 80’s - Autonomy Centre in Wapping, Centro Iberico and London Music Collective and were equally heralded by punks (Andy Martin from The Apostles released one of their tapes) and the DIY music crowd. The line up changed after the 10” and they recorded a Joe Foster produced demo and fell in with Alan McGee's Communication Club crowd. Twelve Cubic Feet burned bright for just a handful of years and now it’s time to burn bright again. Hopefully this reissue will help them reverse one of their sticker statements “today we’re nobodies but tomorrow you’ll know who we are”. This reissue comes with the 16 page booklet that came with the original 10". Twelve Cubic Feet feature members who did time in bands such as Khmer Rouge, The Reflections, Solid Space, Doof and What Is Oil? Amongst others. For fans of the Marine Girls, Girls at our Best, Hornsey At War, Swell Maps and Postcard Records

Warehouse Find!

Seems like something's going on across the pond at the moment with seemingly blossoming, or at least rejuvenated scenes in the United States and Canada. Our last handful of releases on Freerange have included artists from Montreal, Tujuana, Pittsburgh and Chicago and we're about to add Los Angeles to the list with this new one from Justin Jay and Ulf Bonde. The young producers have been steadily building steam with a number of fine releases the last couple of years
and we welcome them to Freerange for their debut EP entitled Indecision. The title track sets the mood with a low-slung, super-deep house groove complete
with an intimate vocal and a charming simplicity which contributes to the powerful end result. Elements come into focus then disappear in a fog of reverb whilst playful guitar picks add a live jammed feel to the loping groove giving things a Bob Moses/Francis Harris kind of vibe. Next up is Justin's own Dub version which steers a similar course but focuses on
a more floor-friendly arrangement and minimal vocals.
Flipping over we have Giegling and White regular Edward taking the reigns and working his magic on an incredible, epic remix of Indecision. Those who follow his every move as we do here at Freerange might have some idea of what to expect.
The result is a glorious, almost ten minute long fusion of ambient, dub techno and deep, sub-aquatic house to lose your marbles to. It's fairly pointless trying to describe the delicate twists, turns and subtle details that make up this piece, suffice to say, it's the kind of track that makes you feel warm and fuzzy inside.
Closing the digital release we have a bonus track in the form of I See You. Once again, Justin and Ulf have created a heady mix of delicate vocals, dubby atmospherics and a crisp beats which drive the groove along perfectly.