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The Coral is the eponymous debut studio album by British rock band the Coral. It was released on 29 July 2002, through the Deltasonic record label. After finalising their line-up, the band had a residency at The Cavern Club, where they were spotted and signed by Alan Willis of Deltasonic. Following the release of a single and an EP, and two UK tours, the band began recording their debut album. Sessions were held at Linford Manor Studios, Milton Keynes in early 2002, and were produced by the Lightning Seeds frontman Ian Broudie and the Coral. Described as a psychedelia and folk rock album, frontman James Skelly's voice was compared to Eric Burdon of the Animals and Jim Morrison of the Doors.

The Coral toured the United Kingdom twice (one stint as a co-headliner with the Music), and supported Pulp and Oasis for a few shows, leading up to the release of The Coral's lead single "Goodbye" on 15 July 2002. Following an appearance at that year's V Festival, the band toured the UK again in October 2002 to coincide with the album's second single "Dreaming of You" on 7 October 2002. The Coral was released in the United States on 4 March 2003, through Columbia Records.

The Coral received universal acclaim reviews from music critics, many of whom praised the high quality musicianship. The album peaked at number five in the UK, while also charting in France, Ireland, Japan, Scotland, and the US. It, alongside "Dreaming of You", would later be certified platinum in the UK. "Goodbye" charted at number 21 in the UK, and number 28 in Scotland, while "Dreaming of You" peaked at number 13 in the UK, and number 14 in Scotland. The album was nominated for the Mercury Music Prize, and a Brit Award.

The Coral is the eponymous debut studio album by British rock band the Coral. It was released on 29 July 2002, through the Deltasonic record label. After finalising their line-up, the band had a residency at The Cavern Club, where they were spotted and signed by Alan Willis of Deltasonic. Following the release of a single and an EP, and two UK tours, the band began recording their debut album. Sessions were held at Linford Manor Studios, Milton Keynes in early 2002, and were produced by the Lightning Seeds frontman Ian Broudie and the Coral. Described as a psychedelia and folk rock album, frontman James Skelly's voice was compared to Eric Burdon of the Animals and Jim Morrison of the Doors.

The Coral toured the United Kingdom twice (one stint as a co-headliner with the Music), and supported Pulp and Oasis for a few shows, leading up to the release of The Coral's lead single "Goodbye" on 15 July 2002. Following an appearance at that year's V Festival, the band toured the UK again in October 2002 to coincide with the album's second single "Dreaming of You" on 7 October 2002. The Coral was released in the United States on 4 March 2003, through Columbia Records.

The Coral received universal acclaim reviews from music critics, many of whom praised the high quality musicianship. The album peaked at number five in the UK, while also charting in France, Ireland, Japan, Scotland, and the US. It, alongside "Dreaming of You", would later be certified platinum in the UK. "Goodbye" charted at number 21 in the UK, and number 28 in Scotland, while "Dreaming of You" peaked at number 13 in the UK, and number 14 in Scotland. The album was nominated for the Mercury Music Prize, and a Brit Award.

“Let’s trade... love,” or so propositions Josh Lane into the waiting ears of a lover on the whispering intro of Thee Sacred Souls‘ latest offering. “Trade of Hearts” is a perfectly coquettish hand-held stroll in the vein of an early Marvin and Tammy duet, on which hearts are traded like so many kings and queens in a playful hand of lovers’ bridge. On the flip, Jensine Benitez dips in with a soaring refrain for the hook of a mid-tempo groover, calling upon a wanted one to let their charm be felt and heard. Without mercy, an infectious rhythm erases any space that might have remained between two dancing souls. The Souls have already captured the hearts of Southern California and beyond with their unique soul sound, at once raw and honey sweet, yet this freshest platter can only tighten that embrace. Hold your cards close, cause they’re playing for keeps!

There seems to be something in the water down in Hastings as a veritable hive of electronic music artists have been busy making beats in ever growing numbers down there - including Kim Cosmik.

Kim's debut on 20/20 Vision is an impressive and highly original mix of techno, electro, broken beats and industrial sounds, destined to destroy the long-anticipated dance floor revival. Although overall the record is abrasive, hard-hitting and takes no prisoners - beneath the surface, in tracks like 'Drifting' we also find nuances of emotional musicality that shed vast streams of light on the proceedings. The record does indeed kick off with intent though with 'Night Flight' - a blistering techno workout that would resonate magnificently in the mighty Berghain hall. There's no holding back the menacing bass line, fortified tough jacking groove on this one as strong synth lines and strings embellish and complete the soundscape.Over to 'Ore' which cranks up the gears into an industrial techno slammer packed with abstract outer-planet sound design finished off with pounding overdriven drums programmed with military precision.

On the flip side is a gem called 'Nocturnal'- this is the cut that first really caught our attention at 20/20 Vision, with it's merciless industrial dubstep kick drums and brutal precision. It's a simple, stripped back workout held in place beautifully by a discordant string - there's just no escaping this fierce ruling diva. Not for the faint-hearted but those who dare will be rewarded.

Kim's final track 'Drifting' is the jewel in the crown that provides the light after the storm. It's a blissful, cosmic, jazz fused musical tapestry driven by break beats, while compassionate strings infused with Kim's own vocal harmonies and subtle piano motifs glisten and glide over the track adding soothing layers of harmonious quality. Drifting is the perfect close to a truly stunning debut EP.

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Spoon’s tenth album, ‘Lucifer On The Sofa’, is the
band’s purest rock ’n’ roll record to date. Texasmade, it is the first set of songs that the quintet has
put to tape in its hometown of Austin in more than
a decade.
 Written and recorded over the last two years - both
in and out of lockdown - these songs mark a shift
toward something louder, wilder and more fullcolour.
 From the detuned guitars anchoring ‘The Hardest
Cut’ to the urgency of ‘Wild’, to the band’s blownout cover of the Smog classic ‘Held’, ‘Lucifer On
The Sofa’ bottles the physical thrill of a band
tearing up a packed room.
 ‘Lucifer On The Sofa’ is an album of intensity and
intimacy, where the music’s harshest edges feel as
vivid as the directions quietly murmured into the
mic on the first-take. According to frontman Britt
Daniel, “It’s the sound of classic rock as written by
a guy who never did get Eric Clapton.”

Remembrance follows a similar formula found on zake's previous effort, Geneva (released on Past Inside the Present, 2020). He produced eight short phonic motifs and then invited artists to collaborate, rework, and expand upon the source material resulting in a new, unique creation. The album consists of eight short vignettes by zake, six collaborative pieces, and eight completely reworked tracks. The track titles and overall theme of these works are based off the gorgeous poetic narrative "Remembrance" written Julia Frizzell.

30 years as a full-time touring nightclub DJ sounds like one hell of a career, and for Kenny Summit it's as much of a milestone as it is a turning point. Having shared the stage with greats such as David Byrne, Stevie Wonder, Chaka Khan, George Michael, Kylie Minogue and Prince over the years, Kenny took that influence and inspiration and decided it was time for him to get behind the mic too.

‘Burnin’ is a song written, produced and performed by Kenny Summit that speaks on a desire that's been burning inside of him for three decades. Across those 30 years he’s made many an influential friend too, three of which come on board to remix ‘Burnin’ - the late great Paul Johnson, D&B icon DJ Aphrodite and Brooklyn legend DJ Spinna.

"I caught the fever for house in 1990 and by 1992 I was booked for my first DJ gig at New Jersey's famed Zanzibar nightclub where house legend Tony Humphries held court on a weekly basis. Something changed that night, a fire started and its been building, growing inside of me and now it's time to put paper to pen and write my own songs."

Clearly influenced by the artists Kenny's worked with over the years, ‘Burnin’ is a culmination of one man's journey through dance music; from the Nile Rogers-ish 70s guitar riff to the whining Steely Dan-like keys, to the lush strings and synth pop stabs that would make Moroder blush, the track itself is masterfully produced and punctuated with Kenny's unique uplifting vocals, sang in a manner as if David Byrne and Boz Scaggs were put together and yet still very uniquely Kenny Summit.

Up on remix duties the late great Paul Johnson, Chicago's shining star, serves up a dark, very much after house vibe, that still keeps that trademark Paul Johnson sound. Drum & Bass icon DJ Aphrodite applies his unique sound to ‘Burnin’ with a stellar remix the D&B community has been patiently waiting over three years for. And finally, long-time friend, Brooklyn's DJ Spinna steps up, who after hearing the track commented 'this needs a dope DUB! Leave it to me, imma hook you up bruh!'. The Discoelectric Dub does not disappoint.

Volume 6: JAZZ N PALMS returns with another selection of some of the most iconic sunset, poolside sounds to be heard at Pikes Hotel (Ibiza), reworked, retouched and edited for your listening pleasure.

A trusted taste, JAZZ N PALMS warms up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes, fusing jazz sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and the sun of the Mediterranean sea.

R.I.P MF DOOM…
MANUFACTURED EARLY 2020 AND HELD BACK FOR RESPECTFUL REASONS IS THE REMASTERED 7” VINYL OF THE GREEDY FINGERS TRACK.
I SELL RHYMES LIKE DIMES, TAKEN FROM THEIR SEMINAL 1999 HIP-HOP ALBUM SHADY SIRENS.
THE ALBUM FEATURED TWO TRACKS WITH MF DOOM & MEGALON, IT ALSO HAD TWO TRACKS
EACH WITH CAGE & NECRO AND FEATURED SCRATCH PERVERT TONY VEGAS. GREEDY FINGERS WERE THE FIRST TO COLLABORATE A FEATURING WITH MF DOOM. THIS EARLY RELATIONSHIP WITH MF GRIMM & MF DOOM ALSO LEAD TO
GREEDY FINGERS PRODUCING MONSTA ISLAND CZARS DEBUT 12” SINGLE RUN THE SPHERE.
THIS TRACK WAS REMASTERED DUE TO BASSLINE MASTERING DISPUTE AND NOW SOUNDS EXACTLY HOW IT SHOULD HAVE ALL THOSE YEARS AGO…
ON THE B-SIDE IS AN ALTERNATE INSTRUMENTAL TO THE LP VERSION.
THE 7” SINGLE IS LIMITED IN SHRINK WRAP WITH IN A STICKERED SLEEVE AND ACCOMPANIED BY A UNIQUE MUSIC VIDEO SHOT BY HMM COOL MOVIEZ.

Sleep Researchers is about a journey, which I haven't finished yet so I don't know what it sounds like. My father reads a few lines, betsy sings into a walkman and over the microphone of a toy casio. I bought a new Portastudio which has the buttons stuck, so when I get it running I record it in ableton. I like the way the sounds blend together on that old machine. I like to think of these tracks as sounds that will accompany moments. audio photos. a man held up in the body the words are worn out He came for me in the early morning but I was sleeping. a man tied to the ground with roots in the desert a man delayed in the body -- Francisco Sonur

To many AxH represents one of the few out there who has held underground strong through the many peaks and valleys of Dubstep, and as such pushed the sound forward all the while. Through Releases on Artikal, Boka, Tempa, and many more AxH has year over year maintained his position as the stateside stalwart. LoDubs is pleased to bring forth three new tunes emblematic of the AxH DNA: Fearsome, at times Frenetic, yet always forward thinking.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Auf Deerhoof ist Verlass: 2020 veröffentlichte die Band "Future Teenage Cave Artists" und überraschte mit dem Gratis-Album "Love-Lore" (auf dem sie 43 Songs in 35 Minuten coverten!), schon lassen die experimentellen Indie-Rocker bereits ihr nächstes Werk folgen. Mit "Actually, You Can", ihrem insgesamt 18. Studioalbum, beweisen Deerhoof, dass - von der kreativen Neuerfindung nach 25 Jahren Karriere bis zur Selbstverwirklichung inmitten einer globaler Umwälzung - alles möglich ist. Das Ergebnis ist Deerhoofs "Barock goes DIY"-LP, die von der Band selbst produziert wurde und mit nur nur zwei Gitarren, Bass, Schlagzeug und Gesang auskommt. Dabei nutzen Satomi Matsuzaki, Ed Rodriguez, John Dieterich und Greg Saunier ihren Witz und ihre Skurrilität, um eine neue gemeinsame Sprache der Revolution zu erschaffen. Eine, die von lyrischen Labyrinthen und thrashigen Melodien angetrieben wird. Das Album markiert außerdem Deerhoofs Rückkehr zu biblischen Referenzen, wie man sie von ihren früheren bahnbrechenden Noise-Rock-Werken kennt. Während das gefeierte "Future Teenage Cave Artists" märchenhafte Visionen der Post-Apokalypse und den Anti-Helden als Retter der Menschheit erforschte, schlägt die Band auf "Actually, You Can" optimistischere Töne an.

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

black LP, 24 Seiten LP-Booklet, bedruckte Innenhülle

Welcome to the jazz funk world of the late great Mr Weldon Johnathan Irvine. This great man managed to write music that both inspired and in awed 50 years ago, as it still does today. He takes you to another world, with his gentle yet almost crazy energy. He was way ahead of his time producing these monumental, instrumental masterpieces. Mr Irvine was such a calm and kind gentleman, who just oozed music. He sadly passed away in 2002. It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

In 1974 Weldon released his “In Harmony” LP. The two tracks we chose are, “Fat Mouth” which, as expected, features the signature Weldon rift. This Clavinet-heavy groove is backed up with the mighty Joe Jones on Hammond organ; and is all held steady with the pumping drums from Napoleon Revels
“Turkish Bath” is a laid-back jazz groove, with Weldon laying down a superb lead Rhodes story and melody. Backed up with Joe Jones on the piano. Weldon’s keyboard echoes throughout his music with such simplicity.

Since '66, when the British singer- songwriter emerged as the voice of his
generation with the seminal Family band, through every twist of his four-decade
solo career, Chappo's output has defied music industry protocol, challenged
genre, and held up a mirror to the times. "I've never stopped writing," he reflects,
"and with Life In The Pond, I felt the need to hear what I'd put down in music."
Released in 2021 on Ruf Records and Chappo Music, Life In The Pond draws a
line under a period in which the 79-year-old had been absent from the studio but
privately prolific. Twelve years since 2009's acclaimed rarities collection Hide Go
Seek, "A true lionheart still roars," raved The Mirror, Life In The Pond reconnects
the veteran with faces from his past – including ex-Family multi-instrumentalist
John 'Poli' Palmer as co-writer and producer while taking the pulse of modern life.
"Mostly it's anger at politicians that's kept me fired up," says Chapman of the
lyrics.
As for the music, Life In The Pond connects the dots between Chapman's
founding influences. "It's about nostalgia for the different musical styles that
influenced my life. American rock from the '50s to now. British R'n'B from the '60s,
like Georgie Fame, the Stones, Zoot Money. Folk, Blues, Motown, Stax, Blue Note
jazz, Classical, Americana, and Country. A whole mess of influences…" More than
four decades later, Life In The Pond ties all those threads together, finding
Chapman's voice in vintage form and his musical radar more receptive than ever,
on a tracklisting that roams from hypnotic seven-minute epic "Nightmare #5" to
"Rabbit Got The Gun's" dystopian soul-funk.
The world has turned a few times since '66, but Roger Chapman still has
something to say – and with Life In The Pond, his voice as an artist is more vital
than ever. "I'm very pleased and grateful that Poli gave me the opportunity," he
says, "because I think we came up with the goods on this album."