Cerca:hard g

United by a shared love of performing bluesy, soulful music in the most intimate and acoustic of settings, Blicher Hemmer Gadd's hard- swinging 4th album recreates the excitement and energy of the late- night sets they've performed around the world together. The album also features two special songs that were recorded during lockdown in Michael's studio in Copenhagen.

Formed after a chance encounter more than 11 years ago, they continue with this joyful project, which has flourished despite the 3,000+ miles, 40+ years and 3 busy touring schedules which separate them.

After decades performing stadiums with the likes of Eric Clapton, James Taylor and Steely Dan, Gadd relishes the opportunity to rediscover the sound and feel of playing almost acoustically "This is honest Music" he says, "no one plays like this anymore."

"It's bluesy, swinging and soulful jazz played by exceptional musicians" - Rhythm Magazine

The album has been produced together with Brinkmann (Germany), one of the world's leading producers of hi- end turntables. To deliver the highest possible sound quality, on both LP and CD the record has been mastered using MQA technology and converted to analog with a Brinkmann Audio Nyquist Mk II Streaming Digital- to- Analog Converter. The MQA Master has been directly fed from the DAC into the cutting machine. A Brinkmann Audio Bardo direct drive turntable is employed for quality control.

Repress & remastered & recut !

A classic for all the Hardtek lovers ! Banging and efficient ship baby !

Love Love Records are honoured to present two interstellar remixes from the recent album from HENGE, ‘ExoKosm’ which was self-released last year by the band during the pandemic. Acid pioneers and Madchester legends 808 State rework the track ‘Exo’ in their signature ‘acid-house meets rave-hardcore’ big band sound that fits seamlessly amongst their own back catalogue. The second is a heavily clubbed up twist of ‘Goldilocks’ from Brain Rays & Quiet, a spacey slab of sub-slung broken power-house with a sleazy groove like an alien abduction straight to the engine room of the UFO.

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

A new EP by The Untouchables is always a treat to be savoured, but the opening track of their latest for DNO is so deliciously tense, so foaming at the mouth with anticipation, that it’s hard not to gulp down the whole release in one go. A minute and a half of sinister notes trying to jab their way through a thick filter and there’s no doubting ‘Emu’ is gonna be one hell of a ride — and it doesn’t disappoint, revealing the stabs in all their gritty darkcore glory, and unleashing a torrent of system-shaking subs.

As per, the Belgian duo present a masterclass in merging dub’s unparalleled spaciousness with techno’s unrelenting drive, and delivering it all at a drum & bass tempo.
On ‘Punjab Chant’, a South Asian vocal call and various wind and percussive instrumentation from the region are pulled apart, lashed with delay, and layered over rubbery subs, resulting in an intense intercontinental dubwise belter.

‘Ragga Ting’ goes full digi dancehall, maintaining pace while employing sultry dembow-style syncopation and a hefty droning bassline that seems to loop ad infinitum. It’s an innovative move and one that’s sure to get hips swinging in the dance.

And the final track on wax, ‘86 Dread’, is pure bass weight, its boxy drums almost swallowed up by the sullen low-end, with only crisp shakers and the odd sonic squiggle poking above the gloom.

Digital bonus track ‘Planetarium Space’ brings the tempo down, but fills the mix with the hurried tick of hi-hats and pattering congas, dollops of reverse bass that add slippery off-kilter movement, and a rogues’ gallery of ghostly organ and other haunted samples and synths that wouldn’t feel out of place in an ‘80s horror flick.

Always taking a leftfield route to rattle your ribcage, The Untouchables and DNO once again prove they’re a perfect pairing. Yum, yum.

Rhythms of postmodern realism at the very bottom of the DNO.

Last year Low End Activist mapped out the depth and breadth of his sound with the Hostile Utopia album on Sneaker Social Club and now he returns with a fresh payload of future shock-outs from the grimy depths of his sound well. Recent times have seen LEA releases tipping towards MC guest spots but on this EP he’s turning inward with three varied, mutant workouts for soundsystem immersion.

‘Sent West’ makes no bones about its inspiration from the tough, boxy end of early dubstep, but as ever the kink in the Activist’s sound comes from the detail around the rhythm and his embrace of off-centre textures. ‘Neurosis’ plumbs even further down in its dogged pursuit of infinite subs and dystopian atmospherics, offering the kind of subliminal, wayward stepper to tweak nervous minds to distraction. ‘Dry Chat, Wet Rag’ stretches out on the B side with a phantom dub pulled from rad-blasted wastelands, caked in slime and tough enough to withstand any fallout.

Calling to mind the introspective, evocative work on the likes of Engineers Origins EP, this is LEA using the hardcore continuum to tell his most murked-out tales.

FUSE head honcho Enzo Siragusa drops his first EP of 2023 with the long-awaited release of ‘Laughing Tones’, backed by a remix from Subsequent boss Voigtmann.

It’s safe to say that every time FUSE founder Enzo Siragusa steps out on his home label with fresh music, it’s an event that carries a lot of attention and for a good reason. His last EP on the label ‘Dreamscape’ celebrated the imprint’s 50th EP release, while stand-out releases and records dating back to his very first on the imprint back in 2011 have continued to shape and evolve the label’s core identity, pushing the sound forwards while still bringing that trademark ‘FUSE aesthetic’. Returning to the label for his first release of the year, mid-July sees the renowned selector and producer unveil his latest EP ‘Laughing Tones’ as he uncovers a pair of heavily-requested productions that showcase his diverse production range backed by a driving remix from Voigtmann.

“While many people know about the influences I draw from jungle and hardcore, my sound has always been routed within house music. The inspiration behind ‘Laughing Tones’ comes from the house music from the late 90s; Mood II Swing, Inland Knights, the dubs and those deeper b-sides.. this record is a bit of a modern twist on that influential sound” - Enzo Siragusa.

A production drenched in rich melodies, title cut ‘Laughing Tones’ is a bright and lively production as the vibrant, sweeping leads and delicate chords meet a zigzagging, engrossing bassline and skippy percussion arrangements for a deep and bubbly trip through all hours of the night. Next, ‘Blossom’ enters the fray built around killer breaks and subtle low-end evolutions, all accented by jazzy tones and hazy textures, before Voigtmann’s vinyl-only remix of the title cut takes things into more off-kilter territories as eerie interludes, sharp hats, and cosmic tones take hold of things and dive deep into the early hours.

Super proud to introduce this special 12" by UK Liquid Funk pioneer HIDDEN AGENDA. I first heard their music on Fabio's February (1995) KissFM show, taping from Leighton Buzzard on my parents JVC tuner. I had it playing as my sound track non-stop on my Walkman for months - deep minimal Jungle had arrived! It was the legendary 'The Flute Tune'. I soon purchased a copy on the mighty METAL HEADZ that year with my giro cheque in Coventry from Bang-in Tunes. 'Get Carter' was my next purchase, it was however, 'The Sun' on Fabio's Creative Source (1996) that set me off like a roman candle (and still does to this date) - I consider this the first Liquid Funk track.

HIDDEN AGENDA next hit us super hard by surprise in the winter of 2003. I was DJing late night at a squat in East Finchley on London's Rude FM 88.2 back-to-back. DJ Haze played this 12" that sent me totally hyper and turned out to be Jason's 'Groove Me' on Eastside Recordings. So hyped was I, that DJ Haze gave me that very copy on the spot!

I went onto paint a huge epic 200x200cm oil / acrylic painting to be photographed for the HORRIFIC13 cover. Set in the South Bronx 1978 (which is the title of the Side AA.) - a train Rolls over RAE ST with a semi-wild style piece which reads HIDDEN AGENDA - GOLDEN SKY with a mini 1978 piece also sprayed on the bridge.

Australian label Lunatic Music’s second release (LM002) comes from London-based, Tokyo-born producer, DJ Himitsu. The first EP from Himitsu, Three Acid’s A-side offers up percussive dance tracks entangled with solid acid lines – a generous offering perfect for the party’s deepest hours.

When it’s time to relax, the B-side delivers with a balearic track full of looping organic samples. Complementing the release is renowned lunatic, Dexter Gregg, going hard with his take on B3 – Squid Friends (Solid State Remix.)

Eclipse kehren zurück mit ihrem neunten Album "Megalomanium". Nach ihrem bisher erfolgreichsten Album "Paradigm" (das die massive Single "Viva La Victoria" enthält, die allein bisher über 26 Millionen Streams auf Spotify hat)) veröffentlichten die schwedischen Hard Rocker ihr letztes Album "Wired" Ende 2020 (Platz 23 der deutschen Charts). Trotz der fehlenden Tourneen gelang es ihnen, weiter zu wachsen. Das neue Album bietet den fröhlichen, hooklastigen und gitarrenorientierten Sound von Eclipse in seiner reinsten Form, 80er beeinflusster Melodic Hard Rock. Die Band ruht sich jedoch nicht auf Lorbeeren aus und bietet einige neue Elemente für einen Sound, der vor allem in Europa bereits Massen von Fans gewonnen hat. Während die erste Single "The Hardest Part is Losing You" einfach zeigt, dass die Inspiration intakt ist - eine der besten Hymnen von Eclipse überhaupt! - Songs wie "Got It!" oder das von Victor Crusner gesungene "High Road" zeigen, dass die Band sich nicht scheut, neue Wege zu gehen. Trotzdem können sie im hymnischen "Children of the Night" mit einem Riff, das die Erinnerungen an den besten Dio/Sabbath-Sound weckt, sehr hart rocken. Weitere Highlights sind das sofort erkennbare "Hearts Collide" und das treffend betitelte "Anthem", das die Fans, die die Shows der Band genießen, in Brand setzen wird. Megalomanium hat absolut alles, was man von den Jungs aus Stockholm erwarten würde, und noch mehr. Erik Martensson (auch W.E.T.) zeigt einmal mehr, warum er einer der gefragtesten Autoren und Produzenten der Szene ist. Sein Geschmack für Melodien, Songwriting und Harmonien ist absolut herausragend und wenn er sich mit Magnus Henrikssons Gitarren duelliert, ist absolute Magie da. Große Europa Tournee von Juni bis November.

An antidote to the tough-guy hardcore spreading from CBGB's, emo outliers Native Nod's unique genre juxtaposition of damaged art-rock, daring/naive songwriting, and raw, poetic vocals have set them apart from the glut of early-'90s post-hardcore. Compiled here are the band's trio of seminal 7" EPs for the Gern Blandsten label, with liner notes by Jenn Pelly and scores of unseen photographs and ephemera.

Founded in 1971, Matumbi was among the earliest and best British reggae bands. They did, however, also record under different guises, including The 4th Street Orchestra. In their acclaimed Rough Guide to Reggae, Steve Barrow and Peter Dalton rate this album (and its counterpart Leggo! Ah-Fi-We-Dis) as "the best showcase for Matumbi's talents". This release marks the first LP reissue of this genuine UK roots-monument since 1976.

Original member Dennis 'Blackbeard' Bovell (of LKJ and Dub Band fame) knew the local sound system-scene like the back of his hand and most tracks on Ah Who Seh? Go Deh! were initially cut as exclusive 'specials' for his own Jah Sufferer sound system and for fellow soundmen. Hardly anyone hearing these tunes at reggae parties or would have guessed they didn't originate in Kingston but were recorded in London. And neither did many who bought the records when they were released a few years later. That's hardly surprising, as the material Bovell & Co churned out could easily compete with the toughest output of their Jamaican counterparts. A splendid version of the 1970 Kingstonians smash "Singer Man" is the most familiar tune here. But it's the band's own outstanding, heavyweight roots tunes like "Jah Chase Dem" or "Za-Ion", their versions popping up later in true sound system style for maximum impact, that will have reggae fans prick up their ears.

Ah Who Seh? Go-Deh! is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Nach einem vielversprechenden Debütalbum im Jahr 2017 waren die dänischen Hardrocker JUNKYARD DRIVE bereit, 2018 mit ihrem zweiten Studioalbum "Black Coffee" in der Szene zu explodieren. Das Timing war richtig, die Band war irgendwie heiß, aber niemand konnte die erstaunliche Sammlung von Songs erwarten, die das Kollektiv für das Album schreiben und aufnehmen würde.Das Album war ein sofortiger Erfolg, mit Hits wie "Where I Belong", "Sweet Little Dreamer" und "Way Too Long", die massives Airplay im dänischen Radio erhielten, die Streaming-Charts anführten und Junkyard Drive Spots auf den wichtigsten Festivals und in Dänemark und den Start ihrer internationalen Karriere gewährten. Heute ist "Black Coffee" eines der meistgehörten dänischen Hardrock-Alben im Internet, mit über sieben Millionen Streams auf den wichtigsten Plattformen. "Where I Belong" ist sogar der beliebteste Junkyard Drive-Song mit mehr als drei Millionen Streams auf Spotify.Jetzt, nach Jahren des Ausverkaufs, wird "Black Coffee" endlich eine neue Vinyl-Edition bekommen. Es wird auf lila 180-Gramm-LP erhältlich sein, limitiert auf 500 Exemplare und handnummeriert. Ein klassisches Format für ein modernes klassisches Hardrock-Album, das sich die Sammler nicht entgehen lassen werden.

With 2 trace Tribe exercises from Hesed , the flip offers one long Vikkei Banging hardfloor killer and a little Rap Bonus from Neuroleptika on a Claudio Hesed Instrumental. Newskool !

Machine's self-titled album is shrouded in mystery. Supposedly released in 1972 on All Platinum Records, it completely disappeared without a trace and only a few copies seem to have survived, making it one of the rarest Funk albums on the planet. The album, only known to a handful of hardcore collectors, fetches prices in excess of $5000 whenever one turns up on the auction market, which happened four times in the last twenty years. Consisting of three young session musicians backing their label mates The Whatnauts, the group display a superb mix of socially-conscious hard-hitting funk and earthy soul, the album is reissued here in its original artwork and remastered by Colorsound Studio in Paris. It includes a 2-page insert with new liner notes by Charles Waring. Masterminded by singer and guitarist Michael Watson accompanied by bass player Curtis McTeer and drummer Donald McCoy, the album Machine came straight out of the New Jersey-based All Platinum studios where the label was based. The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts. As a matter of fact, the Whatnauts' manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few. âÇ

Der Soundtrack zur HBO-Serie "The Last of Us" basiert auf der beliebten Musik und Klangwelt des gleichnamigen Videospiels. Geschrieben wurde der Soundtrack vom mit einem Academy Award ausgezeichneten Komponisten Gustavo Santaolalla und von David Fleming.Die intime, gitarrenbetonte Klanglandschaft spiegelt die Emotionalität der Serie wider und nimmt die Hörer mit auf die ungewisse Reise durch die USA in einer postapokalyptischen Welt, zwanzig Jahre nach der Zerstörung der modernen Zivilisation durch eine, von einem Pilz verursachte Epidemie.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).


The Last of Us takes place twenty years after modern civilization
has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack
highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.


The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

The West Indian-born alto saxophonist Joe Harriott was one of the most convincing boppers outside of the USA, though by the end of the 1950s he was exploring freer musical pastures, and the quintet with which he undertook the exploration was an outgrowth of the hard bop band with which he'd made a name on the British scene.

Often in the past the group's music, in which trumpet and flugelhorn player Shake Keane figured alongside Harriott in the front line, has been compared with that of the early Ornette Coleman quartets, but here it's far more interactive, a fact borne out most obviously by the lack of soloists. Here on Free Form (1961) is where the rhythm of that indigenously West Indian form is extraordinarily maintained in the midst of characteristic group exchanges.

Wanda Jackson is a true pioneer of American popular music. One of the first women in history to record country and western music, as well as rock ‘n’ roll, and a brief romantic liaison with Elvis.This collection reminds of the greatness of her peak years at Capitol Records. From the mournful twists of “Sinful Heart,” to the hard-rocking thrills of “Let’s Have A Party” and “Riot In Cell Block Number Nine,” Wanda Jackson attacks the material in her distinctive way, with a wry glance at innocence left somewhere behind. All hail the Queen, and long may she reign!

Pierre Dutour's infamous Top Fiction is the epitome of a 5-tracker. Coming to light in 1979 on Tele Music, its collection of environmental themes are *all astounding*. We're talking all-time heavy hitters, here. They come recommended as tracks you'd choose to elegantly elevate deep selector sets or mixes.

Skip the irritating whistle-laced marching-band funk of "Captain Parade" and head straight to the glistening synths and proud horns of beatless ambient wonder "Mountain Echoes". Arguably worth the price of admission alone. It's that good. The sci-fi atmospherics of "Space Fiction" are definitely sampleable whilst the proud horns of "Mountain Trumpet" definitely contain blasts that could be of creative use. "Tambours Parade" is more marching-band funk, only this time the drums go hard and there's a lot to like about this one.

Truly, it's all about the B-Side. A real B-Side for the ages, in fairness. It opens with the gorgeous "Deer Forest". It's one of the most beautiful songs you'll ever hear. Like something off Brian Bennett's Voyage, it rides dreamily melodic synths, and comes on, as one fan claimed "like something Angelo Badalamenti would have co-written with Final Fantasy composer, ???? Nobuo Uematsu". It's jaw-dropping. Be instantly beguiled by the deep eerie nostalgia and pretty delicate piano of "Magic Lake I" and the whistling-synth-augmented "Magic Lake II". The almost-title-track "Pop Fiction" is another hidden gem, containing dreamy, glistening arpeggios that are just begging to be sampled with a heavy knocking beat behind it. The set closes with "Damnation Space", 2 minutes of spooky Musique concrète.

So, 5 absolutely incredible tracks and 2-3 good ones. An excellent ratio for a library album, I think we can all agree. Trust us when we say that the heavy hitters are just absolute gold, rendering this one an essential, buy-on-sight purchase. Go listen and discover for yourselves...

The audio for Top Fiction has been remastered by Be With regular Simon Francis, ensuring this divisive release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original space-age sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Ocela can be a dance album if you want it to be, but above that, it is an album about dancing. The second instalment in a planned trilogy, it regards dance as a form of pathmaking, a physical chronology of a journey. Its voyager is the eponymous Ocela // an invented feminine form of the word steel // who wields both strength and brittleness. While the first album (Spojky Čiary) focused on Ocela's inception and youth, here she is mature // on a resolute trajectory between birth and passing away.

Ocela is not a concept album // unless you want it to be // but it is an album built around beats. While there is a loose precedent for rhythms in the two-piece project Jamka, the trilogy also marks Daniel Kordik's solo return to melodical composition. On this record, Ocela dances on her orbits in patterns that are harmonious but always slightly elliptic. Each song on the album travels with its own varying velocity, before it abruptly finds itself at the subjective beginning. Then it goes through further revolutions, with determination bordering on a lack of choice.

Recorded live onto a 4-track before mixing, Ocela is unlike its predecessor in that it shuns any form of field recording, and was instead made using only hardware (Elektron Octatrack MK1, Elektron Digitone, Jomox Mbase01).

Daniel Kordik, also known as Iskra, is one half of Jamka, member of the Urbsounds Collective, co-founder of Earshots Recordings and Ocela is his second release on the melodramatic label Weltschmerzen.

Various artist of pure hardgroove techno connecting the newschool with the old-school.

Ready to tear up the dancefloors

Doppel-LP im Klappcover mit zwei bedruckten Innersleeves, 140 Gramm Vinyl. Was tun, wenn die Welt stehen bleibt? März 2020 ist der Moment, als die deutsche Schauspielerin Melanie Wiegmann auf der kleinen maltesischen Insel Gozo landet, um dort ihren Lebensgefährten, den Musiker Carl Carlton, zu besuchen. Pandemie, Quarantäne, Reisebeschränkungen - nichts geht mehr. Carl, international vernetzter und bekannter Rockgitarrist, ist gezwungen, sämtliche musikalischen Projekte auf Eis zu legen. Auch für Melanie wird die Reise zur Zäsur. Sie bricht Brücken ab und verlässt die laufende Produktion der ARD-Telenovela "Sturm der Liebe", mit der sie zum Star wurde. Aus ihrem ursprünglich geplanten Vier-Tage-Trip werden schließlich drei Jahre. Das Paar nutzt die Zwangspause auf der Mittelmeerinsel, um sich der Musik zu widmen. Im Vordergrund stehen der Spaß und die gemeinsame Liebe zu den Songs, an eine kommerzielle Verwertung denkt niemand. Der rote Faden, der sämtliche Songs verbindet: das ewige Thema Liebe - mit allen Schattierungen. Melanie und Carl entwickeln Arrangements und stellen fest, dass nicht nur ihre Stimmen, sondern auch ihre Geschmäcker harmonieren. Das Great Americana Songbook bildet die Grundlage. Neben Genre-Klassikern wie "Love Hurts" und "If I Needed You" kommen auch die Beatles ("Here, There And Everywhere") und Perlen aus den Katalogen großer Songwriter wie Leonard Cohen ("Dance Me To The End Of Love"), Tom Petty ("Wildflowers") und John Prine ("Long Monday") oder Bob Dylan ("I'll Be Your Baby Tonight") ins Spiel. Als Reisen endlich wieder möglich ist, packen die beiden die Koffer, um Carls weltweit verzweigte Musikerfamilie zu besuchen. Die Aufnahmen der Songs entstehen in Irland, Berlin und schließlich auf Malta. Den Feinschliff für das Album gab es in New York von Mastering-Legende Fred Kevorkian. Mit "Glory Of Love" ist ein warmherziges musikalisches Tagebuch entstanden, das mit eigenwilliger Songauswahl, unprätentiösen Arrangements und natürlichem Charme überzeugt. Die vielleicht schönste Überraschung: Hier haben sich nicht nur zwei Seelen, sondern auch zwei wundervoll harmonierende Stimmen gefunden.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

Cleveland’s Heart Attack Man have been making music since 2013, originally starting as an outlet for singer/guitarist Eric Egan. It quickly became a 4 piece band that started touring throughout the mid-west. Creating their own brand of rousing, noisy post-hardcore and indie pop gems. Self-releasing the EP Acid Rain in late 2014 and set off touring the states. In 2016 the band went in the studio with Modern Baseballs Ian Farmer to record their debut full length The Manson Family. This led to non-stop touring across North America including tours with The Movielife, Drug Church, Hot Mulligan, The Early November and others. The new full length Fake Blood was produced by Brett Romnes (Sorority Noise, Boston Manor, Beach Goons) and picks up where The Manson Family left off with heavy themes, a touch of humor wrapped up in hard hitting catchy riffs with big hooks galore.

Celebrating Sir George Shearing, combines the punch of a big band with the intimacy of a small group, as this hard-swinging, highly melodic outfit showcases some of the UK's most gifted soloists. Whether reinterpreting classics such as Conception and Lullaby of Birdland or re-introducing lesser-known tunes such as Night Flight and Children's Waltz, its richly varied repertoire mirrors Shearing's own development, encompassing swing, be-bop, cool and Latin jazz, topped off with some of the most celebrated vocal numbers of the 20th century.

Phil Upchurch is the kind of guitarist who makes a strong point by what he chooses not to play. There are speedier chopsmeisters, players who undertake more daring intervallic leaps, those who navigate trickier lines, but it would be hard to imagine a more soulful guitarist than Upchurch. From his laidback phrasing on Nat Adderley's bluesy boogaloo "Jive Samba" to his buttery-smooth vocal inflections on Steely Dan's "Jack of Speed" and on the bluesy title track, Upchurch's understated approach on Tell the Truth! is more about pure feeling than technique. And yet he's holding in that department too, as he so capably demonstrates on Roland Vasquez's "Long Gone Bird" and on his own stunning arrangement of Paul Desmonds' "Take Five," done up in a similar fashion to his arrangement for that tune on George Benson's crossover smash hit from 1976, Breezin'. His unaccompanied rendition of "St. Louis Blues" is another guitaristic highlight, showcasing what Upchurch calls his stride guitar technique: incorporating bass, chords and melody lines simultaneously, a la Joe Pass. The prolific studio guitarist covers a lot of basses and blows his own horn in fine style on his Evidence debut.

Grain typified the sound of Rust Belt youth in the mid 90s. With slow builds, fast/ slow time signatures, dissonant guitar work with melodic, catchy undercurrents, and just enough breakdowns to keep the hardcore purists happy, these recordings are simultaneously angry, urgent and beautiful. Remastered by Dave Gardner at Infrasonic Mastering in Los Angeles.

In 2020, electronic musician Nina Pixel was offered a track on a compilation album of songs from the Liptov region. What started as a rearrangement of a single folk song eventually grew in scope and size, eventually becoming a series of releases. Titled Ancestral Archaeology, the series counts two self-released EPs, an audiovisual show in co-operation with Adrián Kriška, and now, after two years, a double LP published by Weltschmerzen. In this definitive form of an album, Ancestral Archaeology reveals itself as a musical reimagination of traditional historical Slovak culture at large.

Nina Pixel averts the perils of lapsing into inauthentic fakelore by building her music with, rather than on, the ethnographic riches of Slovakia. With the eagerness of a genuine archeological prospector, Ancestral Archaeology invokes the always present but seldom perceived linchpins of folklore culture: the desperate clinging to the memory of pre-Christian paganism and witchcraft, songs with narratives of beautiful innate wyrdness that is utterly unfit for mass culture, and superstition as the most serious longing for the balance between sense and irrationality.

If we acknowledge the truism of folklore as the shared way of expression in rural society, the techno music on Ancestral Archeology proposes that, in the urban society of ours, this role is served by raves. The argument isn't as much declared as it's implied // in music and in the spoken-word lyrics that are rife with historical and contemporary sources. An 18th-century recipe by the writer and priest Juraj Fándly proposes snorting the grounded flowers of the medicinal weed Valerian as a way of curing bad vision. "It is a proven remedy!" we are repeatedly assured, and it's not hard imagining Fándly and his parishioners, strung out on Valerian, moving almost involuntarily to the rhythms of their era just as we can move to Ancestral Archeology.

Nina Pixel is a Slovak music artist based in Berlin. Lyrics are inspired by Slovak folklore traditions, songs and shared beliefs.



Manifestation tools: cello, overtone flute koncovka, fujara, gong, metal bowls, sheep bell, field recordings of Slovak forests, Andreas's tom and various drum machines.

Blow Your Brains Out formed in 2019 with members of Stand United, Inside, Die Birth, Civil Defense and Soul Vice from Tokyo and Kanagawa. The band are all active members of their local hardcore communities whether it's putting on shows or running a popular radio show called Sick People. Hardcore fans were hyped for the demo with its instant hit mix of Cro-mags and Dynamo style influenced hardcore, and were excited to hear what the band would do next. However, as with all things at this time, they had to put everything on pause. Fast forward to 2023 and the band have recorded their debut 12” ‘The Big Escape’. This sees the band keep true to their demo influences but with greater flair, and will have you humming the tunes in no time at all. It was important for vocalist Kai to sing in Japanese, a language with a unique rhythm and flow that he wanted to match to the riffs, as well as to communicate about topics important to the local, as well as global community, using powerful Japanese words. ‘The Big Escape’ 12” talks about cult religions, political corruption, domestic violence, and companies that force people to work in poor conditions, as well as the suppression of citizens who resist authoritarian forces. I see through their lies and madness and act with the determination I have squeezed out, without succumbing to after-the-fact sophistry or threats. The underlying theme is the understanding that structural issues in society and politics cannot be easily solved, but it’s important to voice dissatisfaction and anger, and resist, and sometimes that’s by running away to survive, but it’s difficult to put this into practice in everyday life. However, there is hope that one day, the big escape will be achieved.

The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.

2 unformated Hard beautyfull tunes : A side brings a terror Speedbreakcore Deathmetal track, dropping into a strange Oriental Bass-music Hard jungle sound... Music changes from something to something different … magnific sound ! B side brings a superb classic Arvo Part style in a meltdown with a downtempo fat Hardbreak sound.

Rare Jazz-Funk album from 1978 by Headhunters founder.
Featuring an all-star line-up including Herbie Hancock.
Originally released in 1978 on Tobisha EMI Japan.
First vinyl reissue outside of Japan released in collab w/Totown Records. Comes with double side insert.

Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.

Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THE group responsible for their ground-breaking fusion and jazz-funk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums.

Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.

Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.

His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed).

On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.

With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.

Les Imprimés treat us to a tough as nails 7" pulling two stand out tracks from their forthcoming album in a classic Plug & Ballad pairing. The A side "Falling Away'' starts with a crushing drum break that Martens layers with lush piano runs, sitar, and guitar riffs. The lyrics almost contradict the tone of the track making it a bittersweet affair as he sings about love falling apart - "One day at a time girl you waste my life".On the B side "Still Here" Martens professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Martens blends his poetry with his excellent usage of space making this yet another tune from Les Imprimés that is easy to love but hard to categorize.

Recorded in New York in 1957 (though not released until 1962), 'Tijuana Moods' was, according to Mingus himself, "the best album i ever made." The music is a vigorous stew of Mexican rhythms and sophisticated post-Ellington arrangements, further invigorated by the soloing of trumpeter Clarence Shaw, trombonist Jimmy Knepper, and, particularly, saxophonist Shafi Hadi. Mingus's vision of Tijuana was clearly sensual, the music evoking strippers, frenetic street scenes, and heart-broken lovers. Making use of suite like thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form. the bristling sound and spirit of the music, however, are its primary attractions - a remarkable place where Mexican fantasy and hard bop meet.

Psychedelic basement techno vibes on the 8th release of ROD's hardware only project Rod20.

What started as a one off project for a bit of fun on the Fuzzbrain Records Compilation LP in 2019, quickly mutated into a fully fledged band made up of four UK heads with plenty under their collective belts: Ben Woolf (Blind Authority, Lawful Killing, Frame Of Mind, Stages in Faith, Layback), Bobby Cole (The Annihilated, Churchgoers), Jon Osbourne (Mastermind), and Ollie Hudd (Fortbragg Zine). When QC heard this ‘demo’ it was so in your face we just knew we had to put it on wax, because this blend of Krackdown and Outburst era NYHC with a still distinct London hardcore sound will blow your fuckin’ face off! Live expect some crazy energy and antics that’s hard as nails. Who else is gonna do a hardcore version of the James Bond theme? Stay warned, friends.

*BLUE VINYL REPRESS* Started during lockdown by three friends from Leeds, UK who wanted to make some crossover thrash, having been fans of the music for years, Pest Control is the classic story of DIY music straight from a time of crisis. Jack (from Death Metal bruisers Mortuary Spawn) joined soon after the release of the Demo in 2020 and the line up was complete with Pest Control’s first show commencing in their home town the week lockdown ended. Influenced by classic thrash giants such as Metallica, Testament etc. but with a healthy spoonful of crossover like Crumbsuckers, Ludichrist and Municipal Waste, the members grew up with one foot in the Leeds metal and hardcore scenes, taking the best from both worlds. Topping it all off, Leah's powerful vocal reminds one of the great Dawn Crosby from Detente. For the recording of the LP they were joined by Luke on second guitar and now have a permanent second guitarist in the shape of Joe Williams (Big Cheese, Fate) and will be seen touring Europe with the almighty Foreseen, having already played across the UK with Municipal Waste, Eternal Champion and as well as appearances at Outbreak and Wrongside Fests. With this LP the band have truly shown their technical chops from the fast and furious title track to the almost operatic thrash style of The Great Deceiver. There is a fresh range of ideas and most importantly catchy songs for the Crossover Thrash fan to sink their teeth into. Mastered by Arthur Rizk, who knows a thing or two about thrash metal excellence having worked with Power Trip and Fugitive, expect to have your brain well and truly FUMIGATED.

Banging Hardtechno from Jungletek Movement. Enormous bomb !