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Kerrie is back on James Ruskin's Blueprint for her third EP. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design. Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.



Irish-born, Manchester-based Kerrie is a multidisciplinary artist and DJ. Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops, Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020, and also debuted on Blueprint Records with her "Raw Regimen" EP.Truly welcomed to the Blueprint family, Kerrie delivered her second EP "Transient Belief" in 2023 and joined the crew at label showcases around the globe.

Since 2023 she has been fully committed to the studio and accommodating her increasingly busy tour schedule, forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

She's now back on James Ruskin's label for her third Blueprint outing. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design.

Ein Abend, der fast 30 Jahre auf sich warten ließ! Was einst ein Witz in der Fernsehserie Die Simpsons war,
wurde am 10. Juli 2024 Wirklichkeit, als Cypress Hill zusammen mit dem London Symphony Orchestra
in der historischen Royal Albert Hall auftrat. Cypress Hill & das LSO unter der Leitung von Troy Miller
präsentieren das Vierfach-Platin-Album „Black Sunday“ in seiner Gesamtheit mit einzigartigen Orchesterarrangements, die von den Originalaufnahmen von DJ Muggs inspiriert sind, sowie eine Reihe von Songs aus
dem umfangreichen Katalog der Band. „Black Sunday Live At The Royal Albert Hall“ ist auf 180g-Vinyl
gepresst und die Matrizen wurden mit halber Geschwindigkeit geschnitten, um eine hochwertige und präzise
Wiedergabe zu gewährleisten. Außerdem erhältlich als 2CD sowie als 2CD inklusive BluRay oder DVD, die
den Konzertfilm enthalten.

To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.

Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).

This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.

The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.

It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

Mr. Tophat & Art Alfie return with a bang! Fresh off a short hiatus, the duo drops a box of fierce, grooving house cuts packed with signature Karlovak energy--raw, rhythmic, and irresistibly funky. Classic vibes with a fresh twist. The boys are back, and they mean business.

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

Spazio Nero -- Spazio Disponibile's side branch for forceful techno movers -- welcomes prolific techno producer Marcal where he debuts with five of his iconic, high energy, maximum impact techno weapons.

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Not many labels prooved stustainability over decades and can underline that they have been doing the do since the early ‘90s, always keeping it fresh to this very day. Boogie Back Records is one such shining example, releasing tracks and records from the likes of Mica Paris, Omar, Vivienne McKone back in the nineties taking the Streetsoul movement to the top until today and beyond.

They are boogie back once again with this double header of finest Neo-Boogie sounds, a neo-soul flavoured pearl, doing business as unusual, most serious and extra ordinarry by the grey eminenz of London Streetsoul himself Ernie McKone aka „The Great Ernesto“ and his family affair: Ernie & the Family McKone Feat. Laura Jackson. Both sides an uptempo Soul explosion, funky outfits, superb production, great instrumentalists such like Toby Baker known for endless contributions to the global Soul and music scene. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

A Floor-Killer Cover by a UK Soul/Jazz Unit Now on 7-Inch!

The legendary mellow break classic Lowrell - "Mellow Mellow Right On" and the female free-soul masterpiece Gloria Scott - "(A Case Of) Too Much Love Makin'" are now available as covers on their first-ever 7-inch release. Formed in 1993, Paprika Soul is a unit led by Alan Barnes and Andrew Spiller, leaving their mark on the UK soul/jazz scene. Side A features a stunning cover of Lowrell's "Mellow Mellow Right On" (1979), with Christine Glen Cousee and Tim Whitnal delivering a smooth rendition titled "Mellow Mellow." Side B brings a soulful cover of the timeless masterpiece Gloria Scott's "(A Case Of) Too Much Love Makin'"(1974) performed passionately by Jacqui Hicks. This 7-inch is a must-have, guaranteed to set the dance floor alight on both sides!

After a seven-year hiatus, Concept e25 is back which will, quite literally, be music to the ears of deep hose heads. This is the alias of French producer Frederic Boeuf who has been crafting his own grooves since 2012 on labels like Skylax, Copie Blanche and Swedish Brandy. The 'Thesis' EP shows what he is all about with deep, cuddly drums, infectious kick patterns and subtle, painterly synths that help smooth the groves and get your mind wandering.

Exclusive vinyl with the singles released by the Watford post-punk band between 1981 and 1983.

"Before I began to write this piece I listened to some of the tracks and I admit there was a small tear or two as I remembered… Pet Sounds Studios, an 8 track reel to reel studio in a basement under a pet shop in Kennington, South London, our first studio experience as fresh faced 20 year olds. Surrey Sounds, a studio above a milk depot where Siouxsie and The Banshees had recorded singles, we got some studio time through the night when The Professionals (ex Sex Pistols) weren’t recording. Silo Studio in Hammersmith, the engineer was stoned, I smoked at least three packets of cigarettes during the session and having arrived at the studio with a song we believed in, we came out disillusioned and slightly underwhelmed; maybe greatness wasn’t destined to descend upon us at that stage of our career. Spaceward in Cambridgeshire, an old school building turned into a professional recording studio, where we recorded our first album Epic Garden Music over a weekend working through the night with about an hour of sleep. We returned there to record our second album, Feeding The Flame which took two months rather than two days. But my moist eyes are not for the broken dreams, the incredible highs or even the camaraderie with fellow band members, all of whom I may add we are still in touch with. My slight sadness is for my lost youth and the courageous optimism of those early days so viscerally evoked by this collection of songs. The glory of the world fades but in reality Sad Lovers & Giants goes from strength to strength, albeit in a very understated English way mainly because that’s the way we like it. So enjoy these songs which were created with passion and energy over forty years ago but still remain vivid and exciting to a new generation of listeners today." From Garce/Simon Allard's exclusive liner notes (October 2024)

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

co:clear is overjoyed to welcome Jonnnah to its fold, with a new long-form 12” edition. Featuring Pavel Milyakov (aka Buttechno) right off the bat, ‘Me, With You’ is an album that grips its listener tight with gleaming electronica, off-kilter trip-hop and swampy bass.

With past offerings to Soleil Rouge and Second End Records – a label which he heads – there's a thread that laces all of Jonnnah’s work. Although never sticking to a definable bracket, the Lyon-dweller effortlessly floats through various tempers, peddling impeccable electronics as equally suited to colossal sound systems, as they are to solitary early morning walks in headphones. It's ambient for the foreground that surprises with flurries of two-step and amen breaks – present-day sonics that doff their cap to what’s come before.

Out on limited edition 12” vinyl & digital, 30th May 2025. Limited to 200 copies.



Credits:



Written & Produced by Pierre Paumier

Featuring Pavel Milyakov

Mastered by Ike Zwanikken

Lacquer cut by Pitchcraft Mastering

Artwork by Conna Haraway

Distribution by Rubadub

Zaimie, the exciting musical collective based in Glasgow & London, UK, is set to release their highly anticipated 2nd album, "Black Velvet," set to drop on May 23rd, 2025.

Following the success of their acclaimed single 'Feel The Rush', Zaimie's new album, "Black Velvet," sees the collective delving deeper into their signature sound. The album weaves together a rich tapestry of Jazz, Funk, Soul, and global influences, promising a sophisticated and immersive listening experience that showcases the band's exceptional musicianship and songwriting. From infectious grooves to soulful melodies, "Black Velvet" is a testament to Zaimie's artistic evolution and their commitment to creating music that resonates on both a visceral and emotional level.

Following the cinematic jazz-funk of Ufo Bar (2021), Banda Maje are back, ready to take you on another sonic journey across Salifornia—and beyond.

Their new 7" single, available starting May 30 via Four Flies, offers an exciting glimpse into the expanded horizons of Banda Maje, serving as a prelude to their sophomore album, Costa Sud.

These past four years, Peppe Maiellano—the band's composer and mastermind—has further refined his unique Mediterranean sound. A deep connection to Italian and Neapolitan roots remains, as evidenced in the heartfelt cover of Peppino di Capri's 1981 track, "Mo…" on Side A. Maiellano keeps things simple, staying faithful to the original, yet manages to freshen the track for today's listeners, making the lyrics resonate with his compelling vocal rendition.

But Maiellano has also embraced new influences, particularly Brazilian music, as showcased in the infectious "(Roda De) Samba Maje" on Side B. This roda-de-samba version of the upcoming album track "Samba Maje," a collaboration with the Amor Pela Roda group featuring Antonio Montuori on percussion and Pasquale Del Solio on cavaquinho, gives us a taste of Maiellano's vision for Costa Sud—a 'music of the South' that transcends geographical and time boundaries, bridging Italy, Brazil, Africa, and contemporary vibes.


Out on 30th May 2025 on 7" and digital.

Chancha Via Circuito - Remixes is a new compilation from the Argentine producer Chancha Via Circuito, who has been a key player in the Latin electronic music scene. The album brings together some of his top remixes from the past 11 years, now available for the first time on vinyl. This is Chancha's first physical release since his 2022 album La Estrella, and it features remixes with artists like El Búho, Nickodemus, Fuel Fandango, and Lagartijeando.

Chancha is known for blending cumbia with electronic sounds, a style he pioneered in Buenos Aires' vibrant digital cumbia parties. His music often mixes South American folk influences with environmental sounds. Over the years, he's built a global following, performing in cities like London, New York, Paris, Berlin, Sydney, and São Paulo, where he's played at some of the biggest clubs and festivals.

Sohrab unveils “Dreams of Dawn”, on his newly born Toneblind label, a sonic journey that bridges the space between night’s final whispers and the first light of a new day. A fusion of styles with a progressive imprint, this release is a reflection of movement, crafted as a distinct evolution from the artists previous work

Each track, a fragment of a larger vision, pulses with the energy of transition, capturing the essence of dreams dissolving into reality. More than just a collection of sounds, Dreams of Dawn is a statement of intention, dedicated to friendships forged on the road and the experiences around the globe lived so far

Ltd 2 c red blue black splatter Vinyle & Bonus 4 track CD im Tri-Fold Cover.

Diese Doppel-LP wird den gleichen Ton haben wie die Einzel-LP, aber auf 2 LPs aufgeteilt.

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records’ soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows’ recent effort “Is There Love In Outer Space? “July Blue Skies” glides on a slightly more raw and mystical plane.

Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album’s opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs “Sky Train Baby” propels the listener on a locomotive ride through the star systems while “Venus of Barsoon” with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory.

The album’s B-side opens with “Ikuchi,” where Tenor’s always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime “Summer Of Synesthesia” and the demonic “Tsicroxe” both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

‘New Music for the 6 String Guitar’ is the 7th studio album from Radnorshire based guitarist Toby Hay. His debut in 2017 ‘The Gathering’, and 2018’s, ‘The Longest Day’, were both nominated for the Welsh Music Prize. This new album is a follow up to 2019’s ‘New Music For The 12 String Guitar’. Since then, he has released two collaborative albums, 2023’s self-titled ‘Jim Ghedi & Toby Hay’ released on the legendary Topic label, and 2024’s ‘After a Pause’, with Aidan Thorne, released on his own, Cambrian Records.

Like it’s 12 string predecessor, the concept for the new record was dreamt up by state51. The idea was to ask Roger Bucknall of Fylde guitars to build a new custom instrument specifically for a guitarist to write and record music for.

The ‘Curlew’ custom 6 string is made from Macassar ebony and light-coloured cedar and is set up to play in Toby’s unique tunings. The album was recorded over three days in the Wood Room at Real World Studios. All tracks are live performances with no overdubs.

“It is a beautiful studio, my brother Tim engineered the session. It is a very honest album, just me, in a room, one guitar, a mixture of compositions and improvisations. We were invited to watch the football with Peter Gabriel and a few of his friends on the final evening, a memorable experience!”

The natural world is a recurring theme across these 12 tracks, with inspiration ranging from Hay’s time working for the Radnorshire Wildlife Trust, to his recent Masters in Music & The Environment from the University of the Highlands and Islands. Inspiration also comes from Hay’s connection to his local landscape, his home in the Cambrian Mountains, and his sheep dog Bear. But ultimately this is an album that explores the relationship between musician and instrument.

With the guitar being built by Roger Bucknall, the album mixed by Tchad Blake, and the photography by Julian Broad, this album is full of talented contributions from masters in their fields.

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Born from a desire to explore her background in film composing to create a music film, Hannah Holland’s upcoming album 'Last Exit On Bethnal’ is set for release via PRAH Recordings on 18th July. Together with director Lydia Garnett, the multi-faceted London producer shaped ideas born out of images the pair weren’t finding in film, inspired by queer icon filmmakers like Kenneth Anger and Derek Jarman. “We wanted to craft something unapologetically for dykes: a poetic, surreal exploration of dyke power and sexuality set in a fantasy underworld,” explains Holland. Once the film was shot, she channelled its stunning imagery and the energy of the cast into making the record. Seductive and bass-driven, its nine tracks merge sleazy guitars with 707 machine drums, beautiful evolving arps, and surreal moments of Lynchian dreaminess and Aphex Twin-inspired atmospherics. "It was a really amazing collaborative experience and coming together of a community to make something totally unique….and hot!” she continues. The first single ‘Biker’ features a filthy synth hook atop Hannah’s signature bass-guitar, perfectly capturing the raw and sexy energy of the album and its visual centrepiece. You can listen to it here. The film will be screened at a one-off club night at London’s ICA on 11th April in association with Culture Divided, Somesuch and Bala Project.

Hannah Holland has played a pivotal role in London’s alternative and queer London club scene since the mid-noughties. Rooted deeply in London’s fertile musical community, musical exploration and the transcendent potential of dancefloor have always been her biggest inspiration. Her recent delve into experimental theatre, film and TV scores has proved a future further artistic voyage to explore her creative vision. Holland first arrived on dancefloors sharing electro-tinged techno, with equal inspiration taken from the sounds of DnB and jungle heard at legendary parties such as Metalheadz, which she had frequented in her early teens. Having already been “borrowing” (and perhaps never since returning) Kraftwerk, Grace Jones and Talking Heads records from her parents, the influence of this metropolitan musical soup ensured that Holland emerged on the decks with a unique musical character and diverse taste, hallmarks of her sound that she has not lost since. This has been reinforced with trusted residencies at iconic parties such as Trailer Trash, Adonis, Glastonbury’s NYC Downlow, or undertaking far-reaching marathon sets at Berlin’s Panorama Bar. In 2006 Hannah started Batty Bass with vocalist Mama. Immediately a roadblock party and then a record label with releases from Josh Caffe and The Carry Nation sitting in its discography, Batty Bass explores the disparate strains of electro, acid, techno and house. Hannah also released her own music on the label including the ever-anthemic Paris’ Acid Ball.

A steady stream of releases have followed on Shall Not Fade, Super Rhythm Trax, Crosstown Rebels, Classic, Nervous, as well as remixes for Blessed Madonna ft. Kylie Minogue, Planningtorock, The Knife and Goldfrapp among others. Hannah also finds the time to play bass in several bands including Black Gold Buffalo whose debut album she also co-wrote. Her much-anticipated debut album, Tectonic, came out on PRAH Recordings in 2021, with a second on the way. Hannah’s latest venture into the world of film scores have included queer icon Bruce LaBruce’s ‘The Visitor,’ Channel 4 series Adult Material and award-winning indie feature Electrician.

Hannah Holland continues to push the boundaries of electronic and live music, telling stories and carving her own path in the deeper frequencies.

Mastered by Matthew Lutthans at The Mastering Lab from flat copies of the original U.K. and U.S. analogue master tapes Third studio album featured advanced studio recording techniques Featuring original U.S. tracklisting with bonus track "Alive And Well And Living In" from U.K. release Plated and pressed at Quality Record Pressings Gatefold old-style tip-on jacket by Stoughton Printing Jethro Tull's 1970 classic Benefit was their third studio album in as many years, following the successes of This Was (1968) and Stand Up (1969). For Benefit, Ian Anderson (flute, guitars, vocals), Martin Barre (guitars), Glenn Cornick (bass), and Clive Bunker (drums) were joined by John Evan on piano and organ.

Evan would go on to play on all of Jethro Tull's albums throughout the '70s. It was also the last to include Cornick, who was fired from the band upon completion of touring for the album. Recorded at Morgan Studios, where the band recorded Stand Up, the album featured more advanced studio techniques, such as a backward-recorded flute on "With You There To Help Me" and a sped-up guitar on "Play In Time." Frontman Ian Anderson said Evan had changed the band's style: "John has added a new dimension musically and I can write more freely now.

In fact anything is possible with him at the keyboard." Compared to Stand Up, although containing a similar mix of bluesy hard-rockers and melodic acoustic numbers, Benefit had, as Ian Anderson put it, a "harder, slightly darker feel" compared to previous material. The eclectic fusion of folk, rock, and progressive elements creates a sonic tapestry unlike any other. Anderson's virtuosic flute playing intertwines with Barre's electrifying guitar work, weaving intricate melodies that transport listeners to a world of introspection and imagination. From the hauntingly beautiful "With You There to Help Me" to the whimsical energy of "To Cry You a Song," each track invites exploration of both the inner self and the world beyond.

This Analogue Productions 45 RPM release, plated and pressed at Quality Record Pressings, gives this historic album the rich sonic presentation it deserves. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Benefit stands as a testament to Jethro Tull's pioneering spirit, pushing the boundaries of musical expression and leaving an indelible mark on the landscape of rock music. This reissue is clean, balanced and richly detailed, the way an Analogue Productions reissue should sound.

Die deutschen Epic-Doom-Metal-Meister Lord Vigo veröffentlichen im Mai 2025 ihr sechstes Studioalbum auf High Roller Records. Nach den von Presse und Fans gleichermaßen gefeierten "Danse De Noir" (2020) und "We Shall Overcome" (2022) handelt es sich bei "Walk The Shadows" mitnichten um den dritten Teil der begonnenen Trilogie. ""Walk The Shadows" steht für sich alleine und ist unabhängig von einem durchgehenden Konzept", erläutert Schlagzeuger, Sänger und Keyboarder Vinz Clortho. "Das war nach zwei doch sehr ausgefeilten Konzeptalben eine schöne Abwechslung für uns. Es hat wirklich Spaß gemacht." Stücke wie "Through A Glass Darkly", "Servant Of The Dark" oder "The Triumph Of The Killing Heart" verströmen eine Art von Gothic-Horror-Atmosphäre, die einem eklektischen Mix aus Sisters Of Mercy, Fields Of The Nephilim und sogar The Cure ziemlich nahe kommt. "Das kann man durchaus so ausdrücken", stimmt Vinz Clortho zu. "Das Album kombiniert viele verschiedene Stile und kreiert dadurch etwas ganz Neues. Meine Roots liegen im klassischen Metal, und dies in Kombination mit den düsteren Songs auf der neuen Platte ergibt eine komplett andere Richtung für Lord Vigo. Ich denke nicht, dass es ein Album gibt, das ähnlich wie "Walk The Shadows" klingt. Ich weiß nur nicht, ob das ein Vorteil oder ein Nachteil ist." "Der Song 'Walk The Shadows' ist die erste Single", erklärt Vinz. "Dazu haben wir auch ein Video gedreht. Jeder Song steht für sich. Deswegen ist es auch schwierig, bestimmte Nummern herauszuheben. 'El Hakim' ist zwölf Minuten lang, es ist nicht nur der längste Song des Albums, sondern auch der atmosphärisch dichteste. Ganz sicher einer meiner Favoriten." "Stilistisch ist das neue Album sehr wohl ein Sprung für uns" fährt Vinz fort. "Aber genau aus diesem Grund denke ich, dass es eine wegweisende Platte für uns werden kann. Es gibt Gruppen, die immer wieder das gleiche Album schreiben. Aber das sind nicht wir. Bei Lord Vigo klingt jede Scheibe anders. Diesmal haben wir unsere Komfortzone verlassen. Kommerziell mag das nicht unbedingt sinnvoll sein. Aber das ist uns ziemlich egal. Wir wollen Erfolg auf unser Weise. Stellenweise singe ich eine ganze Oktave tiefer als für gewöhnlich. Auch das ist ein Grund dafür, warum "Walk The Shadows" so klingt, wie es klingt."

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Singer James Ambrose Johnson, born on February 1, 1948, in Buffalo, New York, fled to Toronto, Canada, to avoid the draft. There, he started The Mynah Birds, a rhythm & blues band and changed his name to Rick James. In 1966, Neil Young joined the band, but their journey ended when James was exposed as a draft dodger and jailed. After serving his time, Rick James joined several bands, including The Great White Cane, and developed his unique funk style. In 1978, Motown signed him to their Gordy Records, releasing his debut solo album Come And Get It! featuring the hits “You and I” and “Mary Jane.” The album climbed to number 13 on the U.S. charts. Rick released multiple successful albums, such as Bustin’ Out Of L Seven and Fire It Up, with hits like “High On Your Love Suite' and “Bustin’ Out (On Funk).” His 1981 album Street Songs marked his internationally breakthrough, blending funk, rock, and new wave. It produced hits like “Ghetto Life,” the massive “Give It To Me Baby,” and “Super Freak,” earning gold records and Grammy nominations.

His follow-up albums included Throwin’ Down, featuring “Dance Wit’ Me” and "Standing On The Top" with The Temptations, and Cold Blooded, with “Ebony Eyes”a collaboration with Smokey Robinson. Furthermore Rick wrote and produced “Party All The Time” for Eddie Murphy, reaching number 2 on the Billboard charts. Also included on this Collected album are the hits “Glow”, “Loosey’s Rap” featuring the queen of hip hop Roxanne Shanté and his collaboration with Busta Rhymes of “In The Ghetto”

Rick James Collected includes most of his hits and early songs and the 2LP, is available on black vinyl and includes liner notes.

In honour of fifty years in the performing arts - dating back to the founding of the legendary band The Pyramids in 1972 - Idris Ackamoor proudly presents "Artistic Being". This special recording features celebrated San Francisco actor, activist, and author Danny Glover, alongside renowned stage actress Rhodessa Jones.

»Ich denke immer wieder aufs Neue darüber nach, wie ich mich als Schlagzeug-spielender Bandleader so positionieren kann, dass das Instrument eine tragende Funktion einnimmt, dies aber auf eine musikalische Weise geschieht und auf keinen Fall als Zurschaustellung von Virtuosität«, sagt Wolfgang Haffner. Diese Haltung zieht sich als roter Faden durch seine gesamte Karriere - und auch durch »Life Rhythm«, sein zehntes Album auf ACT.

Und obwohl Haffners Musik gängigen Vorstellungen virtuoser Schlagzeug-Leader ganz bewusst widerspricht, steht das Instrument diesmal besonders im Fokus. Ausgangspunkt dafür war Wolfgang Haffners allererstes Solokonzert im Jahr 2022 auf Schloss Elmau. Er erinnert sich: »Das war eine Wahnsinns-Herausforderung bei der ich auch vor der Entscheidung stand: Spiele ich jetzt eine Stunde Schlagzeugsolo? Natürlich nicht! Also habe ich habe eine Menge melodisch klingender Perkussionsinstrumente eingebaut, Passagen live geloopt, mit Echos und Delays gearbeitet – im Grunde wie im Studio, nur eben auf der Bühne.« All dies brachte Haffner dazu, sich noch einmal auf ganz intensive Art mit dem Thema mit dem Instrument zu beschäftigen, welches ihn sein Leben lang begleitet. Und so haben alle Stücke auf »Life Rhythm« diesmal ihren Ursprung, nicht wie sonst bei Haffner, am Piano, sondern am Schlagzeug.

Das Ergebnis dieses Prozesses kann man gleich zum Auftakt von »Life Rhythm« auf dem Titeltrack erleben: Das Stück basiert auf einem hypnotischen Groove, bei dem nicht die Becken, wie sonst im Jazz üblich, die Time angeben, sondern vor allem die Trommeln. Das dieser Groove direkt Phil Collins und besonders an dessen Stück »Take Me Home« erinnert, ist kein Zufall: Collins' Art, Drum-Parts zu elementaren Teilen des Songwritings zu machen, ist bis heute eine von Haffners größten Inspirationen. Und auch jedes weitere der elf sehr kompakten, Song-haften Stücke auf »Life Rhythm« öffnet eine eigene Welt des musikalischen Schlagzeugspiels: Mal mal trocken-reduziert mit Besen wie auf »Balance«, poppig bei »Joy of Life«, mit filigranen Becken-Grooves, dezenter Elektronik und Percussion auf »Eternity« oder minimalis-tisch bis kurz vor der Stille in »Silence and Sound«.

Das aus all diesen Stilistiken ein so stimmiges Ganzes ent-steht liegt daran, das Wolfgang Haffner diese im Laufe seiner Karriere bis in die Tiefe durchdrungen hat - an der Seite von stilbildenden Charakteren wie Al Jarreau, Chaka Khan, Pat Metheny, Jan Garbarek, Esbjörn Svensson, Nils Petter Molvaer, Albert Mangelsdorff, Ricardo Villalobos und vielen, vielen mehr. All diese Kollaborationen haben Wolfgang Haffners Voka-bular am Instrument und auch als Komponist geprägt und die da-mit verbundenen, unterschiedlichsten Stile sind gleichermaßen Teil seiner musikalischen Persönlichkeit.

Vielseitigkeit und höchste Musikalität sind auch die Eigen-schaften, die Wolfgang Haffner und seine Mitmusiker auf »Life Rhythm« verbinden. Die Basis bildet ein bestens einges-pieltes Trio zusammen mit Keyboarder Simon Oslender, selbst auch Drummer und Bandleader, und Thomas Stieger, einem der gefragtesten deutschen Bassisten in Pop wie Jazz. Dazu kommen Trompeter Sebastian Studnitzky, Mitstreiter Haffners seit seinem ACT-Debüt »Shapes« und der Finne Arto Mikälä, eine echte Entdeckung in Sachen Klangvielfalt an der Gitarre. Diese Band herausragender Allrounder erweitert Haffner um eine Reihe musikalischer Charaktere, die der Musik ihre ganz eigene Farbe verleihen: Nils Landgren, Freund und Weggefährte seit mehr als 20 Jahren, Saxofon-Ikone Bill Evans, Sting-Gitarrist Dominic Miller, Balkan-Beat-Star Shantel, Bass-Feingeist Nicolas Fiszman, Oud-Virtuose Thomas Konstantinou und Bruno Müller, einer der besten deutschen Jazzgitarristen.

»Life Rhythm«, sagt Wolfgang Haffner, »ist für mich eine Fortsetzung, keine Wiederholung«. Die Musik trägt mit ihrer Wärme, Kraft und Klarheit die charakteristische Handschrift, die Haffner mit seinen Alben und auf tausenden von Konzerten in mehr als 100 Ländern zum wohl populärsten Schlagzeug-spielenden Leader Europas gemacht hat. Und gleichzeitig ist es eine Evolution seiner Musik. Gut möglich, dass Haffners Erfolg genau darin begründet ist, dass seine Musik immer etwas Ver-trautes und etwas Neues beinhaltet und dass Haffner sein Publikum so immer »mitnimmt« im Fluss seiner Ideen - und in einem gemeinsamen »Lebensrhythmus«

handsigniert & nummeriert

Wir schreiben das Jahr 2025 und FEINE SAHNE FISCHFILET kündigen ihr neues Album „WIR KOMMEN IN FRIEDEN“ an:„Alle gegen alle, im Krieg mit sich und untereinander und natürlich immer exklusiv mit der alleinseligmachenden Offenbarung im Gepäck.

Jeden Tag passiert so viel, so viel Scheiße, so viel Dummes, aber auch immer die guten Sachen mit den Freundinnen und Freunden, der Familie, mit all denen, die noch nicht komplett im Arsch sind. Zeiten, in denen man sich nur umdrehen muss und einem die Idee für das nächste Lied an den Kopf geworfen wird. Und so erscheint am 30. Mai unser neues Album mit einer Menge neuer Songs. Wir kommen in Frieden. Das ist unsere letzte Warnung.“

Angetrieben durch ihren ureigenen Signature Sound - High Energy Melody-PunkRock mit Trompete – gelingt den fünf Musikern mit ihrem neuen Werk eine hinreißende Bestandsaufnahme und gleichzeitig Ausblick auf eine der ungewöhnlichsten Band-Karrieren der letzten Jahrzehnte dieses Landes, ein wilder Trip, der sie aus der vorpommerschen Provinz durch viele Irrungen und Wirrungen bis an die Spitze der deutschsprachigen Musikszene geführt hat.

Produziert wurde der Longplayer erneut von Philipp »Philsen« Hoppen, der auch schon bei Alben von Die Ärzte, Kraftklub, Deichkind und K.I.Z. seine versierten Finger im Spiel hatte.

Kurz nachdem True North ihr Debut Album “Out Loud” veröffentlichten, haben sich die Bandmitglieder schon wieder im Studio zusammengefunden und in den folgenden Monaten an gleich mehreren Songs gearbeitet. Mit ihrem ersten veröffentlichten Album, ihrem ersten Record Deal in der Tasche und ihrer ersten Tour im Rücken, war die junge Band voller Energie, Inspiration und neuer Erfahrungen, die True North’s Sound auf ein moderneres, perfektioniertes Level brachten.

Gitarrist Joel Ferber hat auch bei diesem Album die Produktion übernommen, und mit der Zeit hat sich eine Sammlung ihrer besten Arbeiten ganz natürlich zu ihrem zweiten Studioalbum gefügt. Der Titel “Either Way, The Sun’s Exploding” spiegelt eine gewisse, erzwungene Apathie der Bandmitglieder wider, so wie sie in ihren neuen Songs tiefer in ernstere Themen, musikalisch wie

textlich, eintauchen. Diese umfassen Herzschmerz, Angst, Demut, Selbstreflektion und die immer präsente Jagd nach Wachstum.

True North verbinden Elemente des Alt-Rock, Emo und Pop-Punk und kreieren einen einzigartigen Sound, der modern klingt und gleichzeitig nostalgisch werden lässt. Voll von eingängigen Melodien und emotionsgeladenen Texten.

Gerade erst hat Ole Luk mit seiner Hauptband Solbrud den renommierten Gaffa-Pris für das Metalalbum des Jahres abgeräumt und eine Nominierung für den nicht minder renomierten Nordic Musik Price erhalten.

2025 schüttelt der kreative Musiker mit seinem Soloprojekt Afsky ein Debütalbum aus dem Ärmel, das definitiv seine Spuren im Blackmetal hinterlassen wird. Luk setzt auf Bewährtes: Depressiv-raue Prügelparts reihen sich aneinander und erzeugen eine frostige Atmosphäre, aber er scheut auch nicht davor zurück, Melodie (wohl dosiert), Postrock, Doom und nordische Folkelemente einzubauen. Auch das ist nicht neu und wurde schon das eine oder andere Mal in diesem Genre praktiziert, aber Luk setzt es mit einer Entschlossenheit um, dass diese Parts nicht wie Fremdkörper, sondern als vollständig integrierte Teile der Songs wirken. Bemerkenswert ist der Gastauftritt von Amalie Bruun (Myrkur), die für den Song »Oh Månelose Nat« ihre Nyckelharpa sowie Gesang beisteuert.

„Evangelic Girl Is A Gun“ ist yeules bisher hemmungslosestes und emotional entblößendstes Werk, in dem sie sich mit Ideen einer selbstzerstörerischen Identität auseinandersetzen, die sich durch die Leinwand der Postmoderne brennt. Begleitet von visuellen Kunstwerken, die in Zusammenarbeit mit dem Künstler Vasso Vu entstanden sind, und einem Video für die neueste Single, das von dem bereits erwähnten Neil Krug gedreht wurde, erforschen yeule die Dualität der Dunkelheit sowie ihre persönliche Geschichte mit ihrer Rolle als „Maler“. Durch die hypnotischen Melodien des Albums präsentieren sie ein Porträt des/ der gequälten Kunstschaffenden, der/ die in einem Bild gefangen ist, während yeules eindringliche Vocals wie ein emotionaler Würgegriff auf die Dance-Beats wirken.

Mit „Evangelic Girl Is A Gun“ verleihen yeule dem Triphop aus Bristol und dem Gothic-Style der 90er Jahre ihre eigene „cyborgianische“ Note. Das Album enthält Produktionen von A.G. Cook, Chris Greatti, Mura Masa, Clams Casino, Fitnesss und Kin Leonn, yeules vertrauter Kollaborateur und Co-Produzent des Vorgängeralbums, „softscars“ (2023). yeules unbehandelter Gesang auf dem Album trägt ebenfalls zu einem Gefühl von brennender Authentizität bei; die Rohheit kommt zum Vorschein, wenn sie auf Auto-Tune verzichten. Dieser schrille künstlerische Stil ist eine Abkehr von ihren früheren, glitchigen Werken. Als Gegenpol zum Aufkommen von KI wollten sie ihren Gesang mit einer „rohen, unersetzlichen Kante“ versehen.

„Evangelic Girl Is A Gun“ ist yeules bisher hemmungslosestes und emotional entblößendstes Werk, in dem sie sich mit Ideen einer selbstzerstörerischen Identität auseinandersetzen, die sich durch die Leinwand der Postmoderne brennt. Begleitet von visuellen Kunstwerken, die in Zusammenarbeit mit dem Künstler Vasso Vu entstanden sind, und einem Video für die neueste Single, das von dem bereits erwähnten Neil Krug gedreht wurde, erforschen yeule die Dualität der Dunkelheit sowie ihre persönliche Geschichte mit ihrer Rolle als „Maler“. Durch die hypnotischen Melodien des Albums präsentieren sie ein Porträt des/ der gequälten Kunstschaffenden, der/ die in einem Bild gefangen ist, während yeules eindringliche Vocals wie ein emotionaler Würgegriff auf die Dance-Beats wirken.

Mit „Evangelic Girl Is A Gun“ verleihen yeule dem Triphop aus Bristol und dem Gothic-Style der 90er Jahre ihre eigene „cyborgianische“ Note. Das Album enthält Produktionen von A.G. Cook, Chris Greatti, Mura Masa, Clams Casino, Fitnesss und Kin Leonn, yeules vertrauter Kollaborateur und Co-Produzent des Vorgängeralbums, „softscars“ (2023). yeules unbehandelter Gesang auf dem Album trägt ebenfalls zu einem Gefühl von brennender Authentizität bei; die Rohheit kommt zum Vorschein, wenn sie auf Auto-Tune verzichten. Dieser schrille künstlerische Stil ist eine Abkehr von ihren früheren, glitchigen Werken. Als Gegenpol zum Aufkommen von KI wollten sie ihren Gesang mit einer „rohen, unersetzlichen Kante“ versehen.

Alec Attari, a Turkish producer with a deep-rooted passion for minimal wave, EBM, and the most underground strains of Italo disco, makes a bold debut on our label with his extraordinary EP, « 1982 ». The title itself gives a knowing nod to the cult classic by Miss Kittin & The Hacker, and the release pays tribute to that landmark era when emerging technologies began producing both mainstream and underground hits later immortalized by pioneers like Ron Hardy at the Music Box and Frankie Knuckles at the Power Plant. The crown jewel of this record is an exceptional remix by Italian legend Alexander Robotnick. This version alone justifies acquiring the record, as it echoes the spirit of his classic "Problèmes d'Amour" with a mysterious, sinuous, and hypnotic vibe. Leading Side A is this striking track, aptly titled "Visage." Following it is "Time Machine," an electrifying nod to EBM and techno in the style of another icon, The Hacker. On A3, the original version of "Visage" brings its own serpentine elegance. Side B opens with "Visage" (Vondkreistan Remix), a track that recalls Ron Hardy's classic sets with a more electro, wave-tinged feel. Then, "Wave" brings to mind the finest era of Grenoble's Goodlife label, while "1982" closes the release with a powerful finale. This record glides between influences, from Legowelt and Alden Tyrell to Dopplereffekt, Random Factor, DMX Krew, and Anthony Rother. A true masterpiece from start to finish.

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

»Mother Nature« is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focussed on his work as a producer for artists such as Jens Friebe, MissinCat, or Fotos. »Mother Nature« sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. »Mother Nature« combines a sense of playfulness with cunning compositional rigour to stunning effect.

Intelmann took full creative licence and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. »The synthesizer melodies are arranged like string quartets, while the songs are presented as musical themes strung together so that they form a coherent story,« he explains. The resulting sound isn’t quite as »krauty« as someone called it, instead the artist prefers to call it »slow-kraut—1980s synth sound with 1970s George Duke-style beats,« though of course he never attempted to fit in one specific genre or replicate a certain sound: This is simply the essence of Berend Intelmann as a composer and storyteller.

The lyrical matter of »Mother Nature« is inspired by life and death. This informs an album that masterfully creates contrasts and utilises the friction generated between them to tell its stories. The album opener and second single »All Gone« greets its audience with the couplet »In the long run / We’re all gone,« but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. Also the slowly-unfolding first single »Life Of Another One« sets the stage for a reflection on memories that have become so distant that they feel like belonging to another person altogether with sombre, intertwined melodies. However, these darker tones slowly give way to laid-back grooves, Intelmann’s smooth vocalisations and whirling synthesizer sequences.

The collaborations—a vocal duet with Marla Hansen on »A Focused Mind,« Der Assistent’s subtle theremin contributions to »The Less We Cared« and Mieke Miami flute and saxophone playing on »Mother Nature«—further enrich this album that the artist claims has been »co-produced by friends and family.« Indeed, »Mother Nature« might be Intelmann’s solo debut proper, but he remains a teamplayer at heart.

High Roller Records, Wiederveröffentlichung 2025, magentafarbenes/schwarzes Vinyl, limitiert auf 250 Stück, 425gsm schweres Kartoncover mit 5mm Rücken, A5 Fotokarte, A4 Einleger, 8-seitiges Booklet, Poster.

Alle Tracks gemastert von Patrick W. Engel bei TEMPLE OF DISHARMONY im September 2022.
Schnitt durch SST Germany auf Neumann Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Wiederveröffentlichung dieses französischen Metal-Klassikers!

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

Ty hits the big sky trail of our good ol" frontier empire, discovering non-stop bangers and inspired new sonics around every bend. With lyrics co-written by long-time collaborator, filmmaker Matt Yoka, Ty"s glittering rhythm arrangements move with fresh scansion, inviting in sweeps of strings and horns to further the charge righteously. You"re invited too! Don"t miss the trip - the country inspires awe from up on Ty"s high-octane ride.

Ty hits the big sky trail of our good ol" frontier empire, discovering non-stop bangers and inspired new sonics around every bend. With lyrics co-written by long-time collaborator, filmmaker Matt Yoka, Ty"s glittering rhythm arrangements move with fresh scansion, inviting in sweeps of strings and horns to further the charge righteously. You"re invited too! Don"t miss the trip - the country inspires awe from up on Ty"s high-octane ride.

Dark Blue Vinyl. Nina Nastasia's rare gift of a voice is an intimate, winged presence that is able to either freeze or melt your heart; that can powerfully soar and twist, or brush ultra-gently against you, suddenly summoning goose bumps. Released in 2003 by Touch and Go Records (and out of print for almost two decades), Run to Ruin is the third album by Nina Nastasia. It was recorded by Steve Albini at Black Box studio in Noyant-la-Gravoyère, France and at Looking Glass studio in New York. Combined with the prodigious talents of her backing band and the sparse but lush arrangements of the instruments, the songs on Run to Ruin evoke haunting scenes of heartache, passion and a slightly seedy world. Nina's voice is at once delicate and intense, neither sweet nor harsh, i conveys an array of emotion moving between joy and sadness with just a moment's pause.

Das vierte Album von Ellen Arkbro, "Nightclouds", versammelt fünf Improvisationen für Orgel solo, die 2023-24 in Mitteleuropa aufgenommen wurden. "Nightclouds" ist unverhohlener romantisch und introspektiver als ihre früheren Werke, obwohl es fest in der Strenge und Präzision verwurzelt, die Arkbro's Konzept ausmachen. Es ist die Erweiterung ihrer Erkundungen von räumlicher Harmonie, Taktilität und Textur, Arkbro schöpft gleichermaßen aus sakraler Musik, Jazz im ECM-Stil und Minimalismus und beschwört eine kühle Intimität und einen kühlen Ton herauf. Ihre entschleunigten Akkordimprovisationen hüllen den Zuhörer in düsteres verwaschen, während ihre Mikrofonierung die raue haptische Maserung des Rohrblatts offenbart und den Zuhörer sowohl innerhalb als auch außerhalb des Klangs bringt. Sie evoziert Duette von Kjell Johnsen und Jan Garbarek oder La Monte Young und Tony Conrads Bearbeitung von Euringers und Harmer's Cowboy-Song ,Oh Bury Me Not". "Nightclouds" kanalisiert spirituelles Pathos durch eine rigoros zurückhaltende Architektur. Anknüpfend an das letztjährige Album "Sounds While Waiting" (W.25TH, 2024), einer Auswahl von Stereomischungen, die Arkbro's räumliche Orgelinstallationen dokumentieren, ändert Nightclouds die Richtung und konzentriert sich auf unmittelbare Komposition und Improvisation. Elegante, einfache akkordische Gerüste unterstützen reiche, sich ständig verändernde Texturen; genaues Hinhören erfordert die Hingabe an anhaltende Unentschlossenheit. Den Abschluss einer Sammlung von kurzen Stücken bilden zwei Variationen über die titelgebende Komposition ,Nightclouds", eine eine schelmische Anspielung auf den britischen Jazz-Gitarristen Allan Holdsworth: Die erste Aufnahme verlangsamt und dehnt eine kontinuierlich modulierte harmonische Progression, während die kurze Schlussversion einfach drei Akkorde schleift. Zwischen diesen Stücken liegen ,Still Life" und ,Chordalities", zwei kurze Werke, die im Temple de La-Tour-de-Peilz in Vevey, Schweiz, aufgenommen wurden. Die zweite Hälfte des Albums ist folgenden Stücken gewidmet ,Morningclouds", ein weitläufiges Werk, das in der rekonstruierten Gedächtniskirche (Kaiser-Wilhelm-Gedächtniskirche) in Berlin aufgenommen wurde. Arkbro's prägnantes musikalisches Vokabular und formale Architektur evozieren ein Gefühl der emotionalen Ambivalenz, gleichzeitig erhebend und schwermütig und führt den Hörer mit kühler und distanzierter Schönheit. "Nightclouds", das als tiefgründiges Statement in Arkbros sich entwickelndem Werk steht, das zugleich introspektiv und expansiv ist, bestätigt ihre einzigartige Fähigkeit, harmonische Einfachheit in tief berührende Klanglandschaften zu verwandeln, die den Hörer in einen Raum der Kontemplation und emotionalen Tiefe führen.

"How do I know if my cat likes me?" ist die erste Zusammenarbeit der Organisten Ellen Arkbro und Hampus Lindwall mit der bildenden Künstlerin Hanne Lippard, eine existenzielle Meditation über die leeren Weiten unseres automatisierten Alltags. Das Stück entstand während Arkbro und Lippards Residenz 2023 im La Becque in La Tour-de-Peilz, Schweiz, Das Album persifliert die lähmende Ästhetik des Geschäftslebens, von der Warteschleifenmusik bis zum Onlinebanking. "How do I know if my cat likes me?" führt die Linie von Roberts Ashley von Roberts Ashley und Barry fort und hämmert auf die Klänge der Sprache ein, bis sie alle Bedeutungen durch angenehm betäubende Wiederholungen verdrängen. Die Platte zu hören ist, als würde man ein Captcha wieder und wieder lösen bis alle Zeichen zu Hieroglyphen verschwimmen, oder man findet sich in einem tautologischen Kundendienst-Argument verstrickt, nur dass man, nachdem man in der Sackgasse des Unsinns gelandet ist, eine unerwartete transzendente Schönheit findet, in der die Sprache von der reinen Funktion zur reinen Ästhetik umschlägt und vor Möglichkeiten schimmert. Selbst subtile Brüche in lyrischen oder musikalischen Mustern können eine grundlegende Veränderung in der Welt des Songs auslösen. Auf der gesamten Platte begründen strenger Formalismus und Minimalismus eine Erzählung. ,The Long Goodbye" stellt sich einen quälenden Dialog zwischen Bekannten vor, die sich nicht höflich voneinander lösen können: ,It's my pleasure!", stöhnt Lippard, die sich selbst antwortet: "Pleasure is all mine! / See you soon! / See you next time! / See you then!". Obwohl die Zeilen immer wieder dieselben wenigen Abschiedsworte wiederholen, akkumuliert sich eine geheimnisvolle Kausalität in den winzigen Variationen, die einen erzählerischen Bogen kreieren, weniger für die Figuren des Liedes, sondern für den Zuhörer, der sich mit Verzweiflung, nihilistischem Humor oder tiefer Dankbarkeit über die Fähigkeit der Kunst konfrontiert sieht. An anderer Stelle, als ,Modern Spanking" sich frei assoziierend von der Phrase "Online-Banking" in Richtung "breathing down your neck banking" und ,sexy but bankrupt banking" wandelt, wird eine ganze Welt oberflächlicher Vergnügungen ins Blickfeld gerückt. Während minimalistische Bewegungen in der Musik und der bildenden Kunst eine gewisse Situiertheit des Blicks fördern, erinnert ,Modern Spanking" an den glatten, reibungslosen Minimalismus eines gehobenen Einkaufszentrums: eine Menge wahlloser Passanten, die sich zwischen Sex und Geld, Fantasie und Realität, zerstreuter Aufmerksamkeit und intensiver Ablenkung befinden. In einer Welt wie dieser ist der Unterschied zwischen Bankgeschäften und Prügelstrafe zu vernachlässigen.

"Something of a love letter to New Orleans," Alec Ounsworth's Mo Beauty is finally available again on vinyl redesign featuring gatefold, spot gloss varnish, and marble smokey vinyl. The Steve Berlin (Los Lobos) produced "Mo Beauty" features Ounsworth's trademarks alongside New Orleans finest musicians (George Porter Jr., Stanton Moore, among others). The songs were written in conjunction with CYHSY material but, with this material, Ounsworth tried a different look. The limited deluxe reissue is being released in the wake of the 20th anniversary of Clap Your Hands Say Yeah, the classic self-titled debut album, and its celebratory 2025 worldwide tour.

GROUPLOVE commemorates the Rock N’ Roll You Won’t Save Me Tour of 2024 with an expansive 2LP set, complete with gatefold jacket, color-in-color vinyl, printed inner sleeves & a fold-out 24 x 26" poster. Recorded at the Riviera Theatre in Chicago, IL (except 'Cheese' which was taken from the Wiltern in Los Angeles) and mixed by engineer wiz Matty Green, the release highlights "an incredible and surreal heart opening tour for us" that the band wanted to remember, press, and share. Play it loud!

Drei Jahre nach der Veröffentlichung ihres Debütalbums "caroline" kommt jetzt ihr neues Album "caroline 2". Die Gruppe verbrachte 18 Monate mit verschiedenen Schreibsessions in Großbritannien, wobei die Aufnahmen hauptsächlich in den Big Jelly Studios in Ramsgate stattfanden. Produziert wurde das Album von Jasper Llewellyn, Casper Hughes, Mike O"Malley und Syd Kemp, gemischt von Jason Agel und gemastert von Heba Kadry. Das neue Album "caroline 2" beginnt mit einer lauten Gitarre, die den Sound und gleichsam die Marschroute für das neue Album vorgibt. Dabei gibt sich der Klangkosmos von caroline weiterhin als unergründlich. Voller euphorischer Tiefen und musikalischer Fallstricke, die einen zurück auf einen gemütlichen Soundteppich ziehen. Und dennoch klingt auch das neue unverkennbar nach der Band, die man nicht in Schubladen stecken kann. In gewisser Weise macht das zweite Album von caroline somit da weiter, wo sein Vorgänger aufgehört hat - das grandiose, selbstbetitelte Debüt von 2022 endete mit "Natural death", auf dem sie ebenfalls die Möglichkeiten von hypnotischen Gitarrenmustern erkundeten -, aber in vielen anderen Bereichen betreten sie Neuland. Das Ergebnis ist ein Album von außerordentlicher Tragweite, auf dem das Organische und das Künstliche, das Raue und das Schöne, das Ursprüngliche und das Verschwommene aufeinanderprallen und sich miteinander verbinden.

Fit for Consequences: Original Recordings, 1984–1987 is the first ever archival release from Repetition Repetition, the “two-man electric minimalist band” consisting of Ruben Garcia and Steve Caton hailing from Los Angeles in the mid 1980’s. Repetition Repetition’s unique blend of cosmic art-rock minimalism / maximalism was self-released across a series of cassettes produced in micro editions, and while garnering the attention and participation of luminaries such as Harold Budd, remained under the radar during the band’s existence. Fit for Consequences: Original Recordings, 1984–1987 collects select material from across the duo’s catalog.

It was over a plate of Mexican breakfast food when Ruben Garcia and Steve Caton first told Harold Budd of Repetition Repetition and the worlds they intended to explore by respective way of synthesizers and guitars --- a rendezvous instigated by the former’s fan mail to the legendary composer. If the upstarts entered this restaurant from a one-way street of admiration, they would leave with not only Budd’s interest but, sometime later, a blessing in the wake of many hours shared by the three in Garcia’s Los Angeles home recording studio: “This is going to be difficult, but God help them, I think they’re great,” noted Budd in a USC lecture in 1985. Now several degrees removed from prior rock music aspirations, the real game was afoot.

Between 1984 and 1988, Repetition Repetition operated within something akin to the underground of the experimental underground, although even that designation perhaps overstates the case. The duo’s sparse output consisted of three cassettes self-released on Garcia’s Third Stone Music label: Repetition Repetition (1985), Lakeland (1987), and The Machinist (1987). Their songs would also be included during this period on Trance Port Tapes’ vital scene-scanning compilations assembled by A Produce. Live performances occurred with similar infrequency, but Garcia and Caton counted converts in quality over quantity, numbering among them the aforementioned Budd, a Chambers Brother, and, judging by a memorably drop-jawed reaction following a rare Repetition Repetition gig, Jackson Browne.

Likewise, critical support materialized in the form of KCRW deejays Brent Wilcox and Dean Suzuki, whose steady airplay positioned Repetition Repetition’s music amidst fearless company like Jon Hassell, Hiroshi Yoshimura, and Richard Horowitz. Yet, to hear fellow Trance Port featured players like Tom Recchion and Bruce Licher of Savage Republic tell it, Garcia and Caton moved as ghosts --- a notion more vexingly endorsed by the silence of record companies that failed to come knocking --- and therein lies an overarching truth to the work itself.

Journey to the heart of Repetition Repetition and one discovers a collective ear impossibly attuned to the hypnotic possibilities of stylistic convergence, the resulting music possessed of seamless multimodalities which beckon to a glimmering plane of the disembodied. Where Caton sought his artistic fixes at an intersection of popular genres, Garcia zoned in on the sonically spare, drawing from the same wellspring as the Enos and Rileys of his personal avant-garde pantheon, and in their coming together the two tapped into a deeper cosmic source. Synthetic walls of keyboard sound in forever states of reprise met waves of shimmering --- and at times even punishing --- guitar in reply, their soundscapes hovering convincingly between, as suggested in fittingly dualistic fashion in a press kit assembled by Garcia, such disparate sensations as bird flight in one song and oil drilling in the next.

But don’t call it a push-pull dynamic, as this was a creative partnership founded upon fluidity and organicism by way of, naturally, repetition. In contrast to, say, the Bressonian ideal of repetitive motion as a great stripping away, the concept in the hands of Garcia and Caton equated to ascendancy via continuous unfolding, a maximal route to minimalism. To be sure, their recording philosophy morphed over the course of the act’s short history, and what started as a process defined by consistent in-person interplay developed into a more isolated method formulated by Garcia, who eventually took to his own one-man bedroom-studio sessions in order to fully chart any and all potential ostinato-loaded paths which he could travel down, the Tascam-captured resonances subsequently provided to Caton as blueprints from which to take flight himself, adding layer upon layer of steel to the proceedings.

If the practice and execution changed, however, the evidence certainly didn’t rest in the results: The seamlessness remained, and, despite the brevity of their time together, so has Repetition Repetition. With this finely calibrated collection of songs in Fit for Consequences: Original Recordings, 1984–1987, Freedom To Spend sees to it that the private worlds of Garcia and Caton can now be visited by all rather than just the count-‘em-on-both-hands lucky few whose musical endeavors or collector vocations carried them into this once-distant dimension.

Repetition Repetition’s Fit for Consequences: Original Recordings, 1984–1987 will be released on Freedom To Spend in vinyl and digital editions on May 30, 2025. The collection includes extensive liner notes from Bill Perrine, and wil be offered alongside Over & Over, a supplemental collection of music available exclusively as a mail order cassette from Freedom To Spend and RVNG Intl.

Forged through remote viewing and guided by the energy of orbs and crystals, we present a split E.P from S.O.N.S & Alvar conjuring up an unseen bridge from Seoul to Oslo.

Only accessible through the glass…

Tony Christie is proud to announce his first new album in over 12 years - ‘We Still Shine’. Released on 16th February 2024, it is from the heart and sees Tony go back to his love of country music, something he has been planning to do with long-time producer and close friend Graeme Pleeth for many years. Now available on WHITE vinyl, this record has been half-speed mastered to DMM for ultimate audio quality and pressed on heavyweight vinyl contained within a printed inner sleeve and gatefold outer sleeve.

The Rose (더로즈) is a Korean alt-pop indie band made up of four talented members: vocalist and guitarist Woosung,vocalist/multi-instrumentalist Dojoon, bassist Jaehyeong, and drummer Hajoon. Their upcoming album, WRLD, promises to blend familiar early sounds with fresh sonic landscapes and genres. Fans can look forward to country-inspired melodies and themes of reflection and coming of age.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

The album "Plural" celebrates the remarkable encounters and partnerships that have shaped Gabriel Grossi"s 25-year career as a harmonica player, composer, arranger, and producer. Featuring 10 of his own compositions, Grossi"s renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, "Plural" showcases Grossi"s music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Including Jacob Collier, Ed Motta, Hermeto Pascoal, Seamus Blake, Omar Sosa and others.

Die amerikanische Rockband Skid Row eroberte in den späten 80er Jahren die Musikszene und wurde zu einer führenden Kraft im Hard Rock- und Heavy Metal-Genre. Bekannt für ihre unbändige Energie, ihre melodischen Hooks und ihre unerbittliche Härte, feierten Skid Row mit Hits wie "18 and Life", "Youth Gone Wild" oder "I Remember You" weltweite Erfolge. Die Band wurde zum Synonym für den rebellischen Geist der späten 80er und frühen 90er Jahre, verkaufte weltweit Millionen von Alben und festigte ihren Platz in der Rockgeschichte. Im Jahr 2022 meldeten sich Skid Row mit ihrem mit Spannung erwarteten neuen Studioalbum "The Gang's All Here" zurück, das von Kritikern und Fans gleichermaßen als kraftvolles Revival ihres klassischen Sounds gefeiert wurde.
"Revolutions Per Minute", erstmals erschienen im Jahr 2006, stellt einen entscheidenden Moment in der Karriere der Band dar, da Skid Row aus ihrer Komfortzone heraustraten und neue Ideen und Einfl üsse in die Band einbrachten. Das Album präsentiert den sich weiterentwickelnden Stil der Band, der ihre charakteristische Härte mit einem moderneren, aƽressiveren Sound kombiniert. Die komplett remasterte Neuaufl age bietet den Fans die Möglichkeit, dieses klassische Album neu zu entdecken und seine nachhaltige Wirkung zu schätzen.

Musiker und Produzent Greg Surmacz aus Leeds veröffentlicht mit "Building Beyond The Sky" sein fünftes Album. Seine Musik kombiniert Jazz-Atmosphären mit elektronischen Sounds und wird von Trendsettern wie Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Jamz Supernova oder Moses Boyd unterstützt. Surmacz trat mit James Holden und auf Gilles Petersons "We Out Here"-Festival auf. Bislang erschienen von ihm die Albentrilogie "Timelines" (2021-2022) sowie die LP "What We Can Assume" (2023).

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Rituals, out May 30th, is the newest full length album from Watchhouse (Andrew Marlin & Emily Frantz). This is the first release of all new, original songs since their 2021 self-titled album, which found the duo embracing a new name and a new chapter for the band. Recorded close to home in 2024 with co-producer Ryan Gustafson (the Dead Tongues), Rituals explores the boundaries between identity and awareness, and how we often confuse our patterns with our truths. The album muses on the endless nature of our evolution, asking questions like: how can we have a positive relationship with change, how can we meet our ends gracefully, and 'is the world on fire or at home in the sun?

Let All That We Imagine Be The Light“ ist das achte Studioalbum von Garbage und wurde bei Red
Razor Sounds in Los Angeles, Butch Vigs Studio Grunge Is Dead und Shirley Mansons Schlafzimmer
aufgenommen. Die Platte wurde von der Band und ihrem langjährigen Toningenieur Billy Bush produziert.
Das Album ist unverkennbar Garbage. Alle Markenzeichen und Handschriften, für die sie bekannt sind,
sind hier vorhanden. Große, kantige Gitarren, präzise, treibende Beats und filmische Klanglandschaften
lauern alle unter Shirley Mansons ausdrucksstarker Stimme, ihre Texte strotzen vor Attitüde. Es ist der
Sound einer Gruppe auf dem Höhepunkt ihrer kreativen Kräfte – die charakteristischerweise klangliche
Gegenüberstellungen und Stimmungen nutzt, um ein Album zu schaffen, das gleichermaßen von Licht und
Schatten pulsiert.
„Als ich mit der Aufnahme dieser Platte begann, war ich entschlossen, eine hoffnungsvollere, erhebendere
Welt zu finden, in die ich eintauchen konnte. Der Titel des Albums, Let All That We Imagine Be The Light,
ist ein perfektes, schlagzeilenträchtiges Statement für die gesamte Platte. Wenn alles düster erscheint, ist
es unerlässlich, nach den hellen, positiven und schönen Kräften der Welt zu suchen. Es fühlt sich fast wie
eine Frage von Leben und Tod an. Eine Überlebensstrategie“ – Shirley Manson
Garbage besteht aus allen vier ursprünglichen Bandmitgliedern, Shirley Manson, Duke Erikson, Steve Marker
und Schlagzeuger Butch Vig. In den 30 Jahren seit ihrer Gründung im Jahr

Bryan Ferrys „As Time Goes By“ ist eine zeitlose Sammlung klassischer Songs aus den 1920er und 1930er
Jahren und präsentiert seine unverkennbare Eleganz und seinen anspruchsvollen Stil. Auf dem 1999 erschienenen Album interpretiert Ferry Jazzstandards und romantische Balladen neu, darunter „The Way You
Look Tonight“, „I’m in the Mood for Love“ und den legendären Titeltrack „As Time Goes By“. Mit üppiger
Orchestrierung und einem klassischen, filmischen Touch erweckt Ferry diese beliebten Songs meisterhaft
zu neuem Leben und zollt dem goldenen Zeitalter der Musik Tribut, während er ihnen gleichzeitig seine
ganz eigene Note verleiht.
Das Album erscheint zum ersten Mal seit 2010 wieder in limitierter Auflage auf honiggoldenem 1LP-Vinyl
und 1CD-Format. Bryan Ferry hat auch das aktualisierte Artwork für beide Formate gestaltet

Wer glaubt, über die Diskografie des legendären Pianisten Sviatoslav Richter sei bereits alles gesagt, der
irrt. 60 Jahre lang schlummerten die Aufnahmen, die die Deutsche Grammophon 1965 bei den Festivals in
Tours und Luzern mitgeschnitten hatte, in den Archiven. Sie werden nun erstmals veröffentlicht, sorgfältig
restauriert von den renommierten Emil Berliner Studios. Wie viele Künstler hatte auch Richter das Gefühl,
im Konzert besser und freier zu spielen als im Studio. Diese ungeheuren Aufnahmen zeigen den Pianisten
auf dem Höhepunkt seines pianistischen Könnens. Und in der Tat erinnern sie an Van Cliburns Ausspruch:
„Das ist das gewaltigste Klavierspiel, das ich je gehört habe“. Richters Beethoven-Interpretationen sind
phänomenal. Die Deutungen der Sonaten Nr. 18, 27, 28 und 31 zeigen einen frappierenden, einen modernen
Ansatz, der kein Risiko scheut und den musikalischen Ausdruck in jeder Hinsicht auf die Spitze treibt. Die
Pianistin Elisabeth Leonskaja, eine Vertraute Richters, zeigte sich begeistert von der künstlerischen Freiheit,
der spieltechnischen Brillanz und der Liebe zur Musik, die sich in diesen Aufnahmen vermitteln. Das Album
ist digital, als CD und Doppel-LP erhältlich und enthält ein aktuelles Interview mit Elisabeth Leonskaja,
einen Essay von Jed Distler sowie editorische Anmerkungen von Markus Kettner. Zahlreiche, zum Teil
unveröffentlichte Fotos ergänzen die Edition.

It’s time to celebrate an incredible decade in pop music – and with so many huge hits to choose from we had to make this a 100 track selection across 5 CDs – including more than 40 #1 singles… immerse yourself in rock, glam, disco, punk, new wave, soul, easy listening and pure pop gold … ‘NOW That’s What I Call The 70s’! Also available as 46 tracks on 3-LPs pressed in suitably 70s wallpaper favourite colours – one for each disc – orange, beige and brown – and including an amazing 20 #1 singles

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

Neues Scheibe - Neue Wut: Nach Ihrem erfolgreichen Debutalbum gleich noch diese EP nachgelegt! Maschine Mensch beschreibt den alltäglichen Wahnsinn eines Individuums gesehen von unserer westlichen Welt. Wir werden geboren um ausgebeutet zu werden, alles zum Wohle des Kapitalistischen Systems. Maschine Mensch ist die Antwort auf die Frage: Was machst du aus deinem Leben? Auch wir müssen uns jeden Tag neu hinterfragen was unser Sinn des Lebens ist. Mit ,Maschine Mensch" schlägt die Berliner Punkband Shell Shocked ein neues Kapitel auf - und zwar laut. Die EP ist eine musikalische Abrissbirne gegen die Entmenschlichung unserer Zeit: gegen Algorithmus-Alltag, gegen soziale Kälte und gegen die leise Resignation im Kopf. Mit voller Wucht aus den Kellern Berlins meldet sich Shell Shocked zurück - roher, lauter und kompromissloser denn je. Auf ihrer neuen EP "Maschine Mensch" prallen schneidende Gitarrenriffs auf treibende Drums und Texte, die wie Faustschläge gegen die graue Realität wirken. Zwischen Großstadtbeton, Systemkritik und persönlichem Aufbegehren liefern Shell Shocked 6 Songs, die aufrütteln, antreiben und aufregen. Ein Soundtrack für alle, die nicht stillhalten können, wenn die Welt im Gleichschritt marschiert. ,Maschine Mensch" ist mehr - es ist ein Aufschrei. Punk aus Berlin. Direkt. Unverfälscht. Keine leeren Phrasen sondern Songs die verbinden und bewegen. Für alle die nicht blind mitlaufen wollen.

This new anniversary edition from London's the Duke Spirit marks 20 years since their adrenaline-charged debut roared onto the UK indie scene. Originally released in 2005, it's now remastered and paired with a second LP of B-sides, demos and rarities, pressed on heavyweight yellow and red splatter vinyl. It's a suitably bold presentation for a record that remains as full-throttle and emotionally raw as ever. Built around the magnetic presence of vocalist Liela Moss and the jangling, distorted interplay between guitarists Luke Ford and Dan Higgins, this is a sound forged in post-punk grit and heavy rock swagger. Tracks like 'Lion Rip' and 'Love Is An Unfamiliar Name' still land with venom, but it's the depth and tension of songs like 'Fades The Sun' and 'Hello To The Floor' that show their full range. The bonus material only adds to the mythology i 'Boot Hill (demo)' and 'Scratching Around (demo)' offer glimpses of the band's early energy in the raw, while 'Souvenir' and 'Now Be Still' stand strong on their own. It's a beautiful document of a band at full force, and a reminder that sometimes the most exciting sounds are the ones that never tried to fit the moment.

A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

Nina Nastasia's rare gift of a voice is an intimate, winged presence that is able to either freeze or melt your heart; that can powerfully soar and twist, or brush ultra-gently against you, suddenly summoning goose bumps.
Released in 2003 by Touch and Go Records (and out of print for almost two decades), Run to Ruin is the third album by Nina Nastasia. It was recorded by Steve Albini at Black Box studio in Noyant-la-Gravoyère, France and at Looking Glass studio in New York. Combined with the prodigious talents of her backing band and the sparse but lush arrangements of the instruments, the songs on Run to Ruin evoke haunting scenes of heartache, passion and a slightly seedy world. Nina's voice is at once delicate and intense, neither sweet nor harsh, it conveys an array of emotion moving between joy and sadness with just a moment's pause.

Indifferent Engine is a post-hardcore punk band from Cambridge, UK, known for their genre-defying sound and visceral live performances. Drawing inspiration from early hardcore, art punk, post-rock, ambient music, pulp science fiction and obsolete electronics, the band creates a soundscape that is as eclectic as it is intense. Originally conceived as a solo project by frontman Adam Paul, Indifferent Engine evolved into a full band in 2019, bringing their unique blend of chaotic energy and experimental sound to stages across the UK. Their performances are a sensory experience, often featuring the largest rig of vintage CRT TVs in the UK live scene, bathing the stage in the soft, eerie glow of static. This visual backdrop, combined with Adam's commanding stage presence -- fluctuating between Mark E. Smith-esque monologues and raw, visceral screams -- creates an emotional atmosphere that is equal parts unsettling and captivating.

A collection of songs and stories with women at the centre, that
I hope everyone can find some resonance, strength and solace with.
credits
released February 28, 2025

Jenn Butterworth: Vocals, Backing Vocals, Guitar, Mandolin & Mandola
Seonaid Aitken: Violin
Kirsty Orton: Violin
Patsy Reid: Viola
Alice Allen: Cello
James Lindsay: Double Bass, Electric Bass & Moog
Louis Abbott: Drums & Percussion
Signy Jakobsdottir: Percussion
Keir Long: Synths & Pianet
Tom Gibbs: Piano (track 5)

Arranged and produced by Jenn Butterworth

All string arrangements by Seonaid Aitken, apart from tracks 3 & 4 which are by Jenn Butterworth and Seonaid Aitken

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

Let All That We Imagine Be The Light“ ist das achte Studioalbum von Garbage und wurde bei Red
Razor Sounds in Los Angeles, Butch Vigs Studio Grunge Is Dead und Shirley Mansons Schlafzimmer
aufgenommen. Die Platte wurde von der Band und ihrem langjährigen Toningenieur Billy Bush produziert.
Das Album ist unverkennbar Garbage. Alle Markenzeichen und Handschriften, für die sie bekannt sind,
sind hier vorhanden. Große, kantige Gitarren, präzise, treibende Beats und filmische Klanglandschaften
lauern alle unter Shirley Mansons ausdrucksstarker Stimme, ihre Texte strotzen vor Attitüde. Es ist der
Sound einer Gruppe auf dem Höhepunkt ihrer kreativen Kräfte – die charakteristischerweise klangliche
Gegenüberstellungen und Stimmungen nutzt, um ein Album zu schaffen, das gleichermaßen von Licht und
Schatten pulsiert.
„Als ich mit der Aufnahme dieser Platte begann, war ich entschlossen, eine hoffnungsvollere, erhebendere
Welt zu finden, in die ich eintauchen konnte. Der Titel des Albums, Let All That We Imagine Be The Light,
ist ein perfektes, schlagzeilenträchtiges Statement für die gesamte Platte. Wenn alles düster erscheint, ist
es unerlässlich, nach den hellen, positiven und schönen Kräften der Welt zu suchen. Es fühlt sich fast wie
eine Frage von Leben und Tod an. Eine Überlebensstrategie“ – Shirley Manson
Garbage besteht aus allen vier ursprünglichen Bandmitgliedern, Shirley Manson, Duke Erikson, Steve Marker
und Schlagzeuger Butch Vig. In den 30 Jahren seit ihrer Gründung im Jahr

Auf Festivalbühnen waren Cari Cari 2017 und 2018 nicht mehr wegzudenken. Und doch stehen die beiden erst am Anfang. Das Album feiert diesen mit dem prototypischen Titel »Summer Sun« – und gibt damit die Schlagrichtung vor. »Anaana« versammelt die Unmenge an Eindrücken aus vielen Reisekilometern, Nächten und Abenteuern in einem glühend heißen Druckkochtopf; unterhaltsam, schnell und abwechslungsreich.

Eine gewisse Liebe zu den Welten von Ennio Morricone und Quentin Tarantino ist nicht von der Hand zu weisen – und damit auch der Hang des Duos, mutig entlang eines schmalen Grats zu tänzeln: Cari Cari vermengen zahlreiche Popkulturzitate und weltmusikalische Einflüsse mit einer Prise Ironie und viel Charme. So dürfen sich zwischen kessem 60s-Gitarrensound und tribal beats auch Maultrommeln und Didgeridoos tummeln, die SML auch auf der Bühne zur Begeisterung des Publikums immer wieder auspackt. Und so gelingt der Tanz dem Duo mit jener jugendlich-frischen Mühelosigkeit, die die beiden schon die genannten Bühnen im Sturm erobern ließ.

Im »Mellow Mood« benannten, fünften Kapitel der Serie kehrt Oscar Peterson nach dem solistisch bestrittenen Vol. 4 zu seiner Triobesetzung mit Sam Jones (b) und Bob Durham (dr) zurück. Es ist ein Album, auf dem der Kanadier in einigen Stücken die Giganten des US-Jazz feiert. So startet er mit Duke Ellingtons »In A Mellotone«, das er variantenreich und mit überbordender Physis interpretiert.

Die Horace Silver-Komposition »Nica's Dream« leitet er aus lyrischer Contenace zu improvisatorischem Sprudeln, Gershwins »Summertime« spielt er in einer vom melancholischen Melos gänzlich befreiten, nach seinen eigenen Worten »kühnen« Fassung. Mit »On Green Dolphin Street« greift er ein Thema aus dem gleichnamigen Film auf, entfaltet seine tänzelnden Tastengänge über dem Bordun von Jones, der gegen Ende auch ein wunderbares Solo liefert. Mit den abschließenden Stücken umspannt er einen weiten zeitlichen Rahmen: »Sometimes I'm Happy« führt in die Unschuld der Zwanziger Jahre zurück, »Who Can I Turn To« hingegen stammt aus den Sechzigern. Peterson hat es bereits für sein Soloalbum eingespielt, hier wird es nach einem verblüffenden Tempowechsel im Triogefüge ausgearbeitet.

Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist. Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.

Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist.

Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.