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a A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

[a] A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.

Michael Nau's solo career began with songs crafted and composed in private moments, later to be shared with musical compatriots and reimagined with auxiliary input on records like Michael Nau & The Mighty Thread, Mowing, The Load EP, and Some Twist. These early drafts were stashed away in the vault as Nau strode forward, but after a taxing spring of touring in support of his latest album Less Ready to Go, and recording and self-releasing the stripped-down informal release So On So On, Nau found himself hunkering down at home and rediscovering old gems in his archives. The search yielded a new digital collection of Nau's initial forays into solo work, bundled together as Demo Versions, 2014 to 2017. In their initial incarnations, these songs were less about the end result and more about the discovery. "They're the seed," Nau says of the material. "These recordings are essentially the writing of the songs_ written and recorded at the same time. There's something exciting about them for that reason. It feels magical any time the start of a song arrives, let alone gets `finished.'" These early drafts don't just serve to shed light on the creative process or expose the malleability of Nau's songwriting approach; they often frame the material in an entirely new context. Demo Versions' opening track "The Glass" is a bare-bones affair of acoustic guitar, bass, and vocals_a breezy Sunday morning song that sounds markedly different than the layered lounge-rock approach that later appeared on Mowing. "Light That Ever," with its wall-of-sound production, serves as a climax to Some Twist, but in its infant stage on this collection, it's a beautiful, intimate folk song. Ultimately, all ten songs off Demo Versions, 2014 to 2017 reveal a new side to these fan favorites, with Nau's lush arrangements and unorthodox accompaniments largely absent, and the simple beauty and grace at the heart of the material at front and center.

DUVEL & GIT HYPER - De Rode Draad

Duvel is een pionier binnen de Nederlandse Rap-scene. Met z'n herkenbare stijl en vooruitstrevende visie heeft hij menig artiest geinspireerd en is zijn naam in steen gehouwen. Dit geldt eveneens voor DJ en producer Git Hyper, wiens naam sinds de 'golden era' van de Rap niet is weggeweest. De samenwerking van Duvel & Git Hyper vormt dan ook een nieuwe HipHop mijlpaal. De solide productie ligt in handen van Duvel en Git Hyper en vormt de fundatie voor de scherpe teksten van Duvel, ondersteund door klinkende namen als $keer&Boo$, Faberyayo, Nosa en Maximilli. Het album wordt uitgebracht door Redrum Recordz, het underground label wat Duvel ooit z'n eerste wapenfeiten bracht. Tezamen met de geschiedenis die hij met Git Hyper heeft, is de muziek het kloppende hart en HipHop 'De Rode Draad'.

The hypnagogic haze of purling, refractive dub is strong on Sleepdial’s debut for West Mineral, introducing a crafty new name to the scene after a teasing preview on that Peak Oil x NWAQ radio show, delivering a heavy-lidded dose of tattered ambient dub inversions.

Sleepdial chases a frayed thread of thought thru the fractal echo chambers of ‘RV Lights’, only their 2nd full-length under this alias, and first on vinyl. The 9-part album is optimised for getting smudged on sunny daze with its pursuit of elusive dub sprites that connote subaquatic or vaporous etheric themes in their elemental diffusions and world-building ecologies.

In equilibrium of ambient and dub-as-method, they tenderly tease the senses with a fine grasp of deferred gratification, oscillating abstract spatial navigations and ephemeral moments of heart-in-mouth euphoria. Where sometimes this stuff can err to a pleasant mess, the dub ballast here anchors proceedings in a rugged groove that really pushes the right buttons and elevates the whole thing in its own air.

Blessed with a compelling sensuality, tracks follow a course from the compressed contrails of ‘Purview’ to the helical shapes of ‘Dovetailing’ and thru beautifully pill-bellied sensations on ‘Icarus Rising’, into ruggeder, insectoid dub in ‘Blue August’ to short circuit agitated and soothing feels. That fractured sort of duality manifests at its most anxious yet enchanted in the unpicked strings and astral scree of ‘Lightplay’, and in the title and feel of ‘Lean Angst’, gently keeping heads on toes into the swirling pressure system of album sign-off ‘Airtank’.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

"...When I make music, I'm always trying to create a temporary refuge for myself, a refuge from the increasingly frightening world out there. A kind of remote island where I can hide, switch off for a while, feel at peace. In any case, I feel inner peace when making this music, and I hope, in some way, it does the same for you..."


"Dub Tapes. Volume 2 picks up exactly where its predecessor left off, employing a very similar sonic palette, drawn from analog instruments and effects. All 4 tracks are driven by Lars' live B-line virtuosity. He's played bass for a host of jazz bands and it shows. The bottom-end throughout is a constant, reassuring, warm, womb-like presence, that packs a deceptively powerful pulse. The subtle splashes of studio trickery might have their root in Basic Channel-esque techno, but the results reside somewhere far less minimal, more relaxed, more melodic and musical.
The reverb and delay twisted into soothing, rather than room-shaking shapes. Resembling birdsong and mountain streams.
Lars' piano improvisations are also integral to everything...Stuffed with rich, diverting detail for stoners and siesta seekers, the EP is certainly a set that you're supposed to sit back, settle into and savour."

"All four tracks are superb, the opener 'Ferry From Torkwrith' setting the scene - languorous, beatific Balearic dub from Berlin, music to hide inside, to temporarily block the outside world with.
Second track 'Morning Hour' is slightly more sunlit, a guitar joining the mix. 'Starlings' sets off with birdsong and the thud of a kick drum, a wave of synth chord and some bass guitar, unhurried and mellow.
Fourth track 'Isle Of Stonsey' drifts in, a nine minute excursion into a chilled-out version of space, Hawaiian guitar and dub bass prodding us gently into the cosmos."

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.

Pain Management welcomes London cult favourite DJ ojo, who arrives on the label with a hazy three tracker of trademark nether zone system music. On his most dubbed out full length to date, ojo span’s the full emotive spectrum of dub sonics with a range of both the eerie and more tender expansions of low end atmospherics, the resulting 12” equally suited for the club and the journey home alike.

‘Tongue Tied’ opens the record, a lysergic offering from the darker edges of dub music. A slippery fugue-state hit of narco-ambience built around a crooning, intelligible vocal refrain and chest shot sub weight. A real nightfall system pusher built to simmer in the early hours. It kicks off the EP on an amorphous, hypnotic note that sustains throughout.‘Oil Dub’ sinks deeper into the fog, melodic kinesis and expansive delays upholding an underworld of feedbacked percussion and tongue in cheek sub motion; a seven minute sound bath of ambiguous dub ASMR.

The B-side balances out the darker strains found on its counterpart with an overtly tender digidub closer. Clocking in at almost ten minutes long ‘Cloud Suck’ is a nebulous bliss of perpetually ascending late-summer warmth. The kind of liminal dream-state embrace that you wish would never end. True to the name, it evokes tender, dusk and dawn hued moments, a quiet ride-home flash of introspection on the way to or from some pursuit of meaning. Pain Management essential right here.

Limited run of 200 hand-stamped 12” records available now.

The Cold Stares are from Evansville, Indiana, formed in 2009. The duo (now recently a trio) has
released seven studio albums. The band's 2012 release A Cold Wet Night and a Howling Wind sold 25,000 copies and reached #1 on Amazon Music's Blues Rock albums chart. For almost ten years, The Cold Stares had toured the world relentlessly as a duo, blowing away
audiences across the US and Europe with a fierce, blistering live show that belied their bare bones,
guitar-and-drums setup. In 2023 the band began embracing a whole new kind of chemistry and
launched into their next chapter, adding a third member and channeling the classic power trio sound they grew up on with their explosive acclaimed album,
Voices. Working off the international success of Voices which was voted one of the best albums of 2023 by Classic Rock Magazine, The Cold Stares went into Memphis Magnetic Studio
in Memphis Tennessee and recorded the band’s next chapter and progression, the sprawling album The Southern. Now they are back with The Southern Part 2
which has already bolstered the
blues rocking tracks “Automobile”
and “Little More Rope”.

2025 Record Store Day title - now available for general sale. A selection of top quality tracks from some of reggae’s legendary singers backed by some of the best musicians - Tyrone Taylor, Joseph Cotton, Errol Dunkley, Gregory Isaacs,Frederica Tibbs, J Nile featuring his son J Nile, Cornell Campbell, Jimmy James (of Jimmy James and the Vagabonds fame, one of the first Jamaican recording artists), Winston Reedy (Mr Dim The Lights – lovers rock king) , The Heptones - top Jamaican group who recorded countless hits for Studio One, and BB Seaton (one of Jamaicas best songwriters). Recorded at the Room in the Sky Studio, Tuff Gong Jamaica, Music Lab Jamaica, and Ariwa,. Musiciams: Sly Dunbar, , Winston Horseman Williams, Michael ""Megahbass"" Fletcher, Flabba Holt, Alan Weekes, Vin Gordon,,Noel Fish Salmon, ,Ashanti Selah, Bongo Herman.

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111



Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.



In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.



In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.



This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!



Personnel :

Sahib Shihab (Baritone saxophone, Flute, Cowbell)

Poul Hindberg (Alto saxophone, Clarinet)

Ib Renard (Baritone saxophone)

Bent Nielsen (Baritone saxophone, Flute, Clarinet)

Niels-Henning Ørsted Pedersen (NHOP) (Bass)

Alex Riel (Drums)

Allan Botschinsky (Trumpet)

Fritz von Bülow (Guitar)

Bent Axen (Piano)

Bent Jædig (Tenor saxophone, Flute)

Niels Husum (Tenor saxophone)

Svend Åge Nielsen (Trombone, Bass trombone)

Torolf Mølgaard (Trombone, Euphonium)

Palle Bolvig (Trumpet)

Palle Mikkelborg (Trumpet)

Poul Kjældgård (Tuba)

Louis Hjulmand (Vibraphone)

Iori Wakasa, one of the leading lights of the Tokyo club scene is set to release his second 12” from his own label, “BOTANICA” which he established to express his own primal sensibilities.

The Concept of the Label:
Tokyo-based DJ/producer, Iori Wakasa launched BOTANICA to assert that his label’s activities in itself is art and a palette for his creative, self-expression. It is also based on 2 main concepts: To integrate the sensibilities of both "nature" and “artificial and human activities" and to “contribute music that presents a scenery from the listener's point of view”.

For Iori, his label is an interface of some sort and is also a symbol of his own personal musical expectations.

Iori produced these 2 new tracks during the recent pandemic when the world was under severe restrictions. While taking into account and focusing on both 'his current outlook' and returning to “the roots of his own production aesthetic', he strived to produce something that would substitute it and as a result, created these two new tracks and the artwork that are presented in the label's second release, 'The Party Is Here EP’.

In this EP, he also attempts to express the sentiment that 'the experience that music provides to people is invaluably infinite' and that 'if you truly want to go out and party, it will happen, then and there!’.

About the tracks:
For the track, ’Bedroom Disco’, Iori tries to express his memories of 'a virtual night of partying’ that he experienced during Covid and created this track while being ‘in a state of wanting to break free from oppression’ and reminiscing about a party in a bedroom at night.

He also wanted to express the idea that no matter what situation or environment you are in, you can go to anywhere you want if you really want to and with that sentiment, he wanted to express a scenerio that transcends it and at the same time, he also wanted to convey his feelings of nostalgia for the past, rebellion against the environment and his feelings of desire.

For this track, Iori did not use any sampled voices or field recordings and created it by layering pure sonic imagery repeatedly folded and desolved which triggered the creation of new developments while imagining the thought that “a party actually begins when you step out” and the swaying of emotions that take place from it.

’Tropica' is a track that Iori produced by heavily mixing a utopian feel that people have inside of them with his own sensuality and is designed to ‘guide you to a tropical seaside', regardless of what the listener may have experienced in the past.
Unlike 'Bedroom Disco', this track uses a variety of samples and envisages "many elements intertwining with each other, working together to create this sound structure”. And it also expresses that equal opportunity exists for anyone who wants to visit an imaginary tropical land as well as the hope that even a brief break of the mind can be created by yourself and those close to you, if one pursues it.

About the artwork:
The cover of this new EP, the concept text 'Is your window open?', and the label's logo was designed by illustrator, HILOSHI SHINOZAKI who also worked on the first release, BOTANICA EP. For over 10 years, he has been a regular visitor of Hawaii, where he tries to cultivate his "true way of life” in his art.

And, artwork for the cover and label design of the EP is complemented by the label design and art direction of the record by hiro, a graphic designer who has been his partner and best friend since the first Botanica EP.
hiro expresses Bedroom Disco track's shifting compositional changes and its complex series of sound waves by creating an intricately multi-layered design that is a perfect representation of the way he sees it.
Also initially inspired by the fluctuations of waves, islands, sun, rays, sky and time, the artwork of Tropica also found inspiration from a drawing that made by Iori’s daughter who drew a picture of a scenery when she listened to the track. So through this design, one of the label’s concept of “the label’s activities is in itself art” was realised via the surprising contribution coming from his own family.

Welcome to the ancient Disboard where the 10 rules of the game did not yet exist. War consumes the world, splits the heavens, destroys the stars and even threatens the human race. In the midst of this chaos, a young man named Riku tries to lead humanity towards a tomorrow he firmly believes in. One day, in the ruins of an Elven city, he finds Schwi, an "ex-machina" android who wishes to understand the heart of Man. Their meeting will change the course of history...

Music composed by Yoshiaki Fujisawa, arranger and composer. He is a member of the group Franz Maxwell I. He worked on the anime of LoveLive!, Issekai Cheat Magician and GATE.

He knew, through his music, to transport us in the universe at the origin of this "Issekai" to make us feel all the emotion of a meeting between two completely different beings.

Yû enters high school hoping to finally discover love. But nothing happens, even when a boy makes a declaration...

She then meets Tôko, the perfect girl of the high school, in charge of the Students' Office and who seems to be like her because she rejects all her suitors.

Michiru OSHIMA is a prolific composer, arranger, conductor and lyricist, she started her career in background music for NHK (Japanese television) and movies. Her career is punctuated with participations and arrangements for major video games such as Ico (Playstation) or The Legend of Zelda: Twilight Princess (Nintendo). But it is in animation that she writes her most emblematic compositions. She is at the origin of the music of the famous series Full Metal Alchemist, of 2 parts of Star Wars: Visions (The Elder, The Twins) among others.

With "Bloom into you", she signs a dreamlike ode that beautifully accompanies the two students in their quest for themselves

Adrian Sherwood meldet sich mit seiner ersten Musik als Solokünstler seit 13 Jahren zurück: den rhythmisch mutierten Soundlandschaften der EP "The Grand Designer", dem neuesten Teil der langjährigen und beliebten On-U Sound Disco-Plate-Serie.

Der Titeltrack dient als Trailer für sein bevorstehendes Album, auf dem verschiedene Instrumente, die durch Sherwoods Effektpalette gefiltert werden, über einen unwiderstehlichen Groove und die typisch raffinierten perkussiven Details harmonieren. "Let's Come Together" verwandelt denselben Rhythmus in einen mystischen Dub, wobei der leider verstorbene Freund und Kollaborateur Lee "Scratch" Perry für die typisch schrägen Gesangseinlagen sorgt. Die Kollaboration erinnert auch daran, dass Sherwood seit seinem letzten Release unter eigenem Namen alles andere als untätig war: In den letzten Jahren veröffentlichte er von der Kritik gefeierte neue Alben nicht nur mit dem Upsetter, sondern auch mit Horace Andy, Sonic Boom (Spacemen 3) und Panda Bear (Animal Collective), African Head Charge, Spoon, Creation Rebel, Pinch, und anderen. "Russian Oscillator" ähnelt den Platten von Sherwood & Pinch vielleicht am meisten: Experimentelle Elektronik verwebt sich mit schweren Soundsystem-Klängen und einem an Ruffneck-Dancehall erinnernden Swing. Die EP endet mit "Cold War Skank", einer Linksabbiegung vom Highway in glühenden Wüstenblues, verzerrten Slide-Gitarrenmustern über der Atmosphäre einer Breitwand-Filmmusik.

Erhältlich als streng limitiertes 10"-Vinyl-Sammlerstück, gemastert und geschnitten von Frank Merritt im The Carvery Studio, eingepackt im klassischen On-U-Disco-Sleeve mit einer Collage von Studio Tape-Echo, basierend auf einem Originaldesign von Kishi Yamamoto.

Die selbstbetitelte Debüt-LP von Blushing erhält eine lang erwartete Wiederveröffentlichung und wird zum ersten Mal seit 2019 auf Vinyl erhältlich sein. Dieses spezielle Reissue enthält einen exklusiven, neuen Remix von ,So Many" von Oliver Ackermann (A Place to BuryStrangers) und ein komplettes Remaster von Kurt Feldman (The Pains of BeingPure at Heart, The Depreciation Guild, Ice Choir). Das Vinyl kommt mit transparentem blau/grünem Farbeffekt in limitierter Auflage und mit einem 12" x 24" großen Einleger mit Texten und einer Fotocollage von den Aufnahmen, der Veröffentlichung und der Tournee. ,Blushing" war die erste Zusammenarbeit der Band mit dem ihrem langjährigen Produzent/Engineer Elliott Frazier (Ringo Deathstarr). Der Gruppe gelang es, ihr Songwriting-Potenzial mit schweren Riffs, hakenreichen Refrains und hochfliegenden Gesang zu verbinden und ihre spezifische Art von "heavy" Dream Pop zu kristallisieren.

In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.

In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.

For his third long-player under the Phi-Psonics banner, Ford-Young marshalled a series of live recordings at the Healing Force Of The Universe record store in Pasadena, sculpting fourteen tracks, largely composed in the moment with a fluctuating cast of players, which wonderfully transmit his ideals of community and inner peace. Called "Expanding To One", it features exquisitely calming yet searching pieces like "There"s Still Hope", where Seth"s softly undulating bassline underpins beatific explorations from core Phi-Psonics members, Sylvain Carton and Randal Fisher (both on saxophone), and Josh Collazo (drums), alongside guests Zach Tenorio (Wurlitzer piano) and Mathias Künzli (percussion). Equally sublime, "Healing Time" ripples like a mountain stream, with Ford-Young, Carton, Fisher and Tenorio joined by Minta Spencer (harp), Dylan Day (guitar) and, on drums/percussion, Jay Bellerose, a revered LA stickman most recently under the spotlight in Jeff Parker ETA IVtet.

Motorjesus aus Mönchengladbach sind zurück – und mit „Streets of Fire“ drehen sie den Motor weiter auf Anschlag! Ihr mittlerweile achtes Studioalbum führt ihren unverkennbaren High Octane Heavy Rock in eine neue, noch explosivere Dimension.
Mit Vollgas voraus präsentieren sie eine Mischung aus Motörhead-infiziertem Rotzrock, hymnischem 80er-Jahre-Metal im Stil von Judas Priest und Iron Maiden sowie einer starken Prise Punk-Attitüde. Das Ergebnis: Ein kompromissloses Heavy- Rock-Feuerwerk, das sowohl alte Fans als auch neue Hörer mitreißen wird.

Motorjesus haben den Tank randvoll gefüllt und treten das Gaspedal durch! Nach ihrem letzten Album „Hellbreaker“, das Platz 20 der deutschen Albumcharts erreichte und der Band Festival-Auftritte auf Summer Breeze, Rock Hard Festival und vielen weiteren Bühnen sicherte, setzen sie mit „Streets of Fire“ neue Maßstäbe. Das Album strotzt nur so vor kraftvollen Hymnen, die zum Mitsingen und Fäuste-in-die-Luft- Recken einladen. Diesmal bewusst ohne Balladen, sondern mit noch mehr Speed,

Groove und treibenden Riffs, die sofort ins Ohr gehen.
Produzenten-Legende Dan Swanö (Opeth, Dissection, Edge of Sanity) ist begeistert: „Diese Songs haben einen neuen Fokus und eine unglaubliche Energie – ich habe mir beim Mischen buchstäblich den Fuß wundgetreten!“
Mit ihrem unverwechselbaren Sound, der Hard Rock, Metal und Punk-Einflüsse vereint, beweisen Motorjesus einmal mehr, dass sie zu den beständigsten und kraftvollsten Heavy-Rock-Bands Deutschlands gehören. Ihre unbändige Live-Energie konnten sie bereits auf Touren mit Motörhead, Anthrax, Mustasch und Prong unter
Beweis stellen – und auch auf „Streets of Fire“ liefern sie wieder pure Rock’n’Roll- Power ohne Kompromisse!

Bringing raw club energy into your living room, KI/KI continues to merge worlds as she likes. On her latest release via her self-founded label slash, she fuses hard-hitting trance synths with Storm Mollison's silky vocals, classic hard house elements with her forward-thinking take on club music, and everyday life with the adrenaline of a big night ahead. With its infectious melody, driving bassline, and a touch of pop allure, 'Getting Ready For The Party' channels the rush of pre-party anticipation and has quickly become a fan favourite since its first play.

Motorjesus aus Mönchengladbach sind zurück – und mit „Streets of Fire“ drehen sie den Motor weiter auf Anschlag! Ihr mittlerweile achtes Studioalbum führt ihren unverkennbaren High Octane Heavy Rock in eine neue, noch explosivere Dimension.
Mit Vollgas voraus präsentieren sie eine Mischung aus Motörhead-infiziertem Rotzrock, hymnischem 80er-Jahre-Metal im Stil von Judas Priest und Iron Maiden sowie einer starken Prise Punk-Attitüde. Das Ergebnis: Ein kompromissloses Heavy- Rock-Feuerwerk, das sowohl alte Fans als auch neue Hörer mitreißen wird.

Motorjesus haben den Tank randvoll gefüllt und treten das Gaspedal durch! Nach ihrem letzten Album „Hellbreaker“, das Platz 20 der deutschen Albumcharts erreichte und der Band Festival-Auftritte auf Summer Breeze, Rock Hard Festival und vielen weiteren Bühnen sicherte, setzen sie mit „Streets of Fire“ neue Maßstäbe. Das Album strotzt nur so vor kraftvollen Hymnen, die zum Mitsingen und Fäuste-in-die-Luft- Recken einladen. Diesmal bewusst ohne Balladen, sondern mit noch mehr Speed,

Groove und treibenden Riffs, die sofort ins Ohr gehen.
Produzenten-Legende Dan Swanö (Opeth, Dissection, Edge of Sanity) ist begeistert: „Diese Songs haben einen neuen Fokus und eine unglaubliche Energie – ich habe mir beim Mischen buchstäblich den Fuß wundgetreten!“
Mit ihrem unverwechselbaren Sound, der Hard Rock, Metal und Punk-Einflüsse vereint, beweisen Motorjesus einmal mehr, dass sie zu den beständigsten und kraftvollsten Heavy-Rock-Bands Deutschlands gehören. Ihre unbändige Live-Energie konnten sie bereits auf Touren mit Motörhead, Anthrax, Mustasch und Prong unter
Beweis stellen – und auch auf „Streets of Fire“ liefern sie wieder pure Rock’n’Roll- Power ohne Kompromisse!

Don't Die Before You're Dead', AJ Traceys lang erwartetes drittes Album, an dem er mehr als drei Jahre gearbeitet hat, markiert einen Meilenstein in seiner Karriere - seine Rückkehr nach einer selbst gewählten Pause und eine erneute Bestätigung seiner Position als eine der einflussreichsten Stimmen der britischen Musikszene.

Mit einem so deutlichen Titel wie 'Don't Die Before You're Dead' wird sich das Album aller Erwartung nach mit Themen wie Ehrgeiz und Widerstandskraft auseinandersetzen, sowie damit das Leben in vollen Zügen zu genießen - Werte, die AJs Weg von Ladbroke Grove an die Spitze der britischen Rap-Szene bestimmt haben.

Es ist ein reifer Sound des kreativen Westlondoners und ein Moment, in dem AJs Wachstum und Entwicklung in seiner Karriere zum Ausdruck kommt. Die Fans können sich auf ein Werk freuen, das nicht nur seine Entwicklung als Künstler zeigt, sondern auch die Grenzen der britischen Musik weiter verschiebt.

AJ Tracey kann auf zahlreiche Nominierungen für den BRIT Award, einen erstklassigen Auftritt auf der Pyramid Stage in Glastonbury und eine Reihe von Charterfolgen zurückblicken. Seine mit Dreifach-Platin ausgezeichnete Single Ladbroke Grove wurde zur meistverkauften Independent-Single des Jahres 2019. Seine Vielseitigkeit zeigte sich in Kollaborationen mit Jorja Smith, Stormzy, Headie One und Aitch.

Don't Die Before You're Dead', AJ Traceys lang erwartetes drittes Album, an dem er mehr als drei Jahre gearbeitet hat, markiert einen Meilenstein in seiner Karriere - seine Rückkehr nach einer selbst gewählten Pause und eine erneute Bestätigung seiner Position als eine der einflussreichsten Stimmen der britischen Musikszene.

Mit einem so deutlichen Titel wie 'Don't Die Before You're Dead' wird sich das Album aller Erwartung nach mit Themen wie Ehrgeiz und Widerstandskraft auseinandersetzen, sowie damit das Leben in vollen Zügen zu genießen - Werte, die AJs Weg von Ladbroke Grove an die Spitze der britischen Rap-Szene bestimmt haben.

Es ist ein reifer Sound des kreativen Westlondoners und ein Moment, in dem AJs Wachstum und Entwicklung in seiner Karriere zum Ausdruck kommt. Die Fans können sich auf ein Werk freuen, das nicht nur seine Entwicklung als Künstler zeigt, sondern auch die Grenzen der britischen Musik weiter verschiebt.

AJ Tracey kann auf zahlreiche Nominierungen für den BRIT Award, einen erstklassigen Auftritt auf der Pyramid Stage in Glastonbury und eine Reihe von Charterfolgen zurückblicken. Seine mit Dreifach-Platin ausgezeichnete Single Ladbroke Grove wurde zur meistverkauften Independent-Single des Jahres 2019. Seine Vielseitigkeit zeigte sich in Kollaborationen mit Jorja Smith, Stormzy, Headie One und Aitch.

Die 1992 in London von Sänger und Songschreiber David Christian gegründete Band Comet Gain war ursprünglich inspiriert von den frühen Creation Records, Television Personalities und der Mod-Kultur. Comet Gain schöpften aus denselben Idealen wie Dexys, The Style Council oder Vic Godard und aus Traditionen wie der von The Velvet Underground, The Byrds und den 13th Floor Elevators. In den darauffolgenden Jahren veröffentlichte die Gruppe acht Alben auf so angesehenen Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP!. In diesen Veröffentlichungen vermischten sich französischer New Wave mit englischem Arbeiterherz, Riot Grrrl mit Acid Punk und Twee Pop mit Post-Punk und Northern Soul. Comet Gain überdauerten ihre Zeitgenossen und inspirierten eine neue Generation von DIY-Bands. Auf dieser Platte, Comet Gains zweitem regulären Album bei Tapete Records, hören wir David Christian (Stimme, Gitarre), Ben Philipson (Gitarre), Rachel Evans (Gesang), Robin Christian (Schlagzeug), Anne Laure Guillain (Keyboards) und Clientele-Bassist James Hornsey, mit zusätzlichen Gesangs-, Bläser- und Keyboard-Beiträgen von Produzent Sean Read (Dexys, Edwyn Collins, Rockingbirds).

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Mit "Hellbound" (1056491ECR) von 2021 erschien erstmals eines ihrer Alben in den Top 40 des Vereinigten Königreichs. Außerdem feierten Buckcherry in diesem Jahr das 20-jährige Jubiläum ihres mehrfach mit Platin ausgezeichneten Albums "15" (2957031ECR). Die zweifach für einen Grammy nominierte Band kehrte für "Roar Like Thunder" in die Sienna Recording Studios in Nashville zurück, um zusammen mit Produzent Marti Frederiksen (Aerosmith, Mötley Crüe, Ozzy Osbourne) das Album aufzunehmen. Herausgekommen ist ein Album, das vor heißem Rock’n’Roll nur so strotzt.

New Vienna ist die vierte Konzertveröffentlichung von Keith Jarretts triumphaler letzter Solo-Tournee durch Europa. Das Album folgt auf München 2016, Budapest Concert und Bordeaux Concert. Weshalb der Titel New Vienna? Jene, die mit Jarretts Musik näher vertraut sind, wissen, dass seine Diskografie bereits ein legendäres Wien-Konzert (aufgenommen in der Wiener Staatsoper) enthält, von dem er einmal behauptete, seine Musik spreche ”die Sprache der Flamme selbst”, nachdem er jahrelang ”mit Feuer gespielt” hatte. Keith Jarretts Rückkehr in die österreichische Hauptstadt im Jahr 2016 brachte die Flammen der Inspiration an einen anderen historischen Ort mit legendär lebendiger Akustik, den Goldenen Saal des Wiener Musikvereins, wo zu Beginn des vergangenen Jahrhunderts Werke von Schönberg, Berg und Webern uraufgeführt wurden, die den Kurs der modernen Musik herausforderten und veränderten. New Vienna, ein Konzert in dem neue Musik im Moment geformt wird, hat im Kontext der Jarrett’schen Idiome eine nahezu enzyklopädische Gestalt. Das Album erscheint anlässlich des 80. Geburtstags von Keith Jarrett.