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Carla Durisch unveils her debut EP ‘I Just Wanna Dance’ on Crosstown Rebels, with long-standing label favourite and close friend Seth Troxler on remix duties.

An exciting name who looks set for a breakout year in 2023, DJ/producer Carla Durisch is an artist whose passion and deep- rooted understanding of electronic music led to her being marked as a talent to keep an eye on. An integral part of the Swiss electronic and club landscape through residencies at the likes of Nordstern (Basel), plus both Hive and Zukunft (Zurich), her recent explorations within the studio have seen her deep and groove-led style translate into her own productions. These explorations are on display for the very first time as she debuts on Damian Lazarus’ renowned Crosstown Rebels imprint, following appearances at Get Lost in Miami and Watergate Berlin, plus forthcoming Ibiza sets alongside the label boss this summer at Hï.

Led by the captivating words of Nanghiti and Carla’s own vocals ‘I Just Wanna Dance’ is a warping and colourful ride through rich synths, refined drums and bright stabs as it builds and descends across an engrossing near-seven-minute journey. Next, ‘Be The Thing is a stripped-back, hypnotic house effort as snaking percussion merges with sharp lead melodies and further vocal interjections.

Needing little introduction, Seth Troxler’s remix of the title cut is an example of the American at his best, fusing bubbling acid-dipped bass patterns with skittering percussion and surging synth lines for a trippy, late-night take. To close, ‘4AM’ picks up those early hours sonics as crisp claps, echoed vox snippets and dubby grooves take a hold.

Spanning a decade of sophisticated funk from the Motor City, two midtempo picks from the crates of Mr. K get his trademark classy edit treatment on this Detroit-themed 7-inch.

G.C. Cameron was a solid singer in the Motown stable, a vocal chameleon whose range extended from clear tenor to soaring falsetto. Though this agility is most easily heard via his lead vocal on the Spinners’ “It’s A Shame,” he shows off the same versatility in the rare groove classic “No Matter Where,” a 1973 Curtis Mayfield-esque burner that’s the subject of Mr. K’s latest release on Most Excellent. For Krivit this has been a lesser known & hard to find floor filler for years. Intro cleanly extended, now ready for the big stage and modern club play.

Our flip side stays in midtempo, rare groove Detroit territory but jumps ahead a decade to the early ’80s with Candye’s “Time Is What You Need.” Candyce Edwards got her start in the Detroit funk powerhouse One Way (her predecessor was Alicia Myers) and soon became connected with the group’s wunderkind songwriter/multi-instrumentalist Kevin McCord. McCord had already taken Myers to the top with “I Want To Thank You,” and seeing if lightning could strike twice with Edwards. Although only resulting in this solo debut, time and the untiring excavations of latter-era vinyl junkies have subsequently made her collaboration with McCord (a union that briefly included marriage) a sought-after boogie gem in the rough. Mr. K plucks perhaps the most winsome LP-only cut and subtly extends intro and outro to provide a useful 7-inch version that should get plenty of warm weather play.

Both tracks have been carefully remastered for this release & have never sounded better.

Reissued on vinyl for the very first time, the third Paragons album, originally released in 1982 on the UK reggae label Starlight. All songs are backed by the Aggrovators, the Bunny Lee’s house band, that includes Sly & Robbie, the Barrett brothers - both also with Bob Marley & the Wailers - Jackie Mittoo, Earl “Chinna” Smith, Winston Wright and many others. Produced by Bunny Lee, mixed by Prince Jammy. “Now” marked the Paragons return to the scene, in a big way. Great vibrations, dreamy melodies, a roots reggae masterpiece.

In the KID BE KID superhero universe, the fact that she is not only a singer but also a virtuoso pianist goes without saying. So much talent in one person would hardly be bearable if KID BE KID wasn't, above all, such a lovable funky freak!
"Naked Times! No More Lies! Here I am strippin' straight in front of your eyes," she chants in a futuristic dress with a gigantic shoulder width, and in the video clip she skillfully oscillates between the authenticity of her live performance and the complete unreality of the production.
Musically, it sounds like a finely curated neo-soul record collection pushed through a 2030s cyber-sound AI. Except that with KID BE KID, the beats don't come from the hard drive, but from her body: Human Beat Boxing. So hip-hop community members are welcome to nod their heads here.

In the 10 songs contained on "Truly A Live Goal But No Ice Cream" KID BE KID reflects on our existence between Internet publicity and Home Sweet Home, in which the mere start of the day can become a regular challenge! KID BE KID arms herself against the personified time and gives it an ultimatum: "Don't you dare not be better than last year!". As a result, everything in her life as well as musically finally takes a turn for the better...

KID BE KID has been touring Europe almost non-stop since last summer, has been recording vocals for Netflix ("Rumsspringa") and, in her remaining free time, has been hanging out in the young Berlin jazz and abstract beats scene.
All these influences can now be heard on her fantastic new album, where KID BE KID seems extremely determined to make the world a little bit better with her art:
"We are here for a reason, Move! Be the better Move!", she challenges herself and us in her song "Move" and of course: KID BE KID is a movement we are only too happy to join in 2023.

She has been a celebrated sensation for years for her live performances anyway, so it's no wonder that she is only too happy to make fun of all the boring online productions, including bloated self-marketing in her lyrics: "You'll have to post 5 times a week, at least 5 videos and one pic, if not your audience won't grow".
But since we have all become little self-marketing monsters with the desire for constant virtual pats on the back, KID BE KID directs this criticism primarily at herself: "Of course: For love everybody seeks, But it makes me sick, to do so, too" it also says in the song ("News Feed").

Well, when this album comes out in June, the ice cream parlors should finally be open again in real life. Walking there, with KID BE KID on the AirPods, we make a few jumps of joy! Because, honestly? This is really so incredibly good.

Laura Poitras’ Oscar-nominated film »All the Beauty and the Bloodshed« is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin. Told through intimate interviews, photography, and footage, central to the story is her personal fight to hold the Sackler family accountable for the opioid crisis. The film cuts to the bone with its incandescent celebration of life and condemnation of those who threaten it. Art and activism are one and the same.

Helping to interweave Goldin’s past and present, multi-disciplinary duo Soundwalk Collective soundtrack her personal and political struggles to sublime effect. The contemporary sonic arts platform of founder and artist Stephan Crasneanscki and producer Simone Merli, the pair work with a rotating constellation of artists and musicians, developing site-and-context-specific sound projects through which to examine conceptual, literary, or artistic themes. And for all the beauty and the bloodshed on show here, the duo strike the balance just right; their compositions in collaboration with Zacharias Falkenberg and Johannes Malfatti producing a trance that oscillates between grace and madness.

Within the score, Crasneanscki draws connections with the life and work of German poet Friedrich Hölderlin, who was removed from society through confinement in institutions. In his last poems, written as fragments while he was plagued by mental illness, Hölderlin renders nature, in all its fragility and ephemerality. Similar themes merge in Laura's portrait of Goldin and serve as an inspiration for the composition of the choral songs and cantus within the soundtrack. Through the repetition of words and the layering of voices, the lyric scansion operates like a language possessed, echoing various styles from sacred music to modern minimalist techniques. The music is characterised by quivering strings and swells, de-tuning and lingering, shifting around the surreal, and creating a spectrum of musical experience. Exerts of Nan’s narration are featured in two of the tracks, her powerful narration offering a more direct approach to the storytelling.

In »All the Beauty and the Bloodshed,« Poitras shows protest is really Goldin’s great artwork: Her entire life had been leading to this moment of passionate expression, an inspired situationist gesture which fused the personal and the political. Art can change the world, which Poitras and Goldin tell us with powerful results. While there are multiple threads in this remarkable portrait which could have carried entire films, the soundtrack provides a sonic identity that helps keep track of proceedings. Utterly unique in their approach, Soundwalk Collective have delivered a gripping and thoughtful score, helping turn Goldin’s personal pain into culture-rattling impact.

The 2022 DreamWorks Animation film Puss In Boots: The Last Wish is the sequel to the spin-off film Puss In Boots (2011) and the sixth installment in the Shrek franchise. Directed by Joel Crawford, the film features a voice star cast including Antonio Banderas, Salma Hayek Pinault, Florence Pugh, Olivia Coleman, and John Mulaney amongst others. It received an Academy Award-nomination for Best Animated Feature Film. The story follows the daring Puss In Boots, who discovers that his passion for peril and disregard for safety have taken their toll. Puss has burned through eight of his nine lives, though he lost count along the way. Getting those lives back will send Puss in Boots on his grandest quest yet.

Heitor Pereira composed the film's score, who is best known for scoring the Despicable Me franchise. For this specific release, Pereira selected his favourite pieces to be featured. Together with his team, these pieces were mastered to sound as best as possible on vinyl. It features the additional tracks "Fearless Hero (Hero Version)" with Antonio Banderas, "Por Qué te Vas" by Gaby Moreno, "This Is the End" by Dan Navarro & "La Vida Es Una" by KAROL G.

Puss In Boots: The Last Wish is available as a limited edition of 750 individually numbered copies on orange "Puss" marbled vinyl. This vinyl package includes the map to the "Wishing Star" and a 4-page booklet with liner notes by director Joel Crawford.

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

Tenderly propelling and full of haunting melodies: Studio Mule re-issues Sakura Tsuruta’s so far digital only, self-released debut album “c / o” from november 2022.

An evocative first long player by Tokyo based artist, who was trained in classical piano during childhood, played with brass instruments, studied music production, and is today active as a composer, live performer, and versatile dj.

With “c / o” she expressed her personal history in a fluid, around 43-minute long light flooded, yet dark-ish musical vision. eight profoundly composed tracks, melding complex rhythms with emotional airs, tripping arpeggios, and ghostly sounds, slightly influenced by some of her fa-vorite artist like björk, holly herndon, or kaitlyn aurelia smith.

“c / o is a love letter for the experiences, people, and memories i had in the last two years that i spent producing this album. i also like that the letter “c” looks like an incomplete circle, whereas the letter “o” is a full circle.

Long out of print (10 years!), this new edition of Soul Jazz Records' classic Delta Swamp Rock, features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s.

Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

This album comes as a superb limited-edition gold vinyl double vinyl release complete with extensive original sleevenotes, interviews and exclusive photography, all spread over a 12-page full-size magazine and two bespoke inner sleeves. The works!

Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s.

At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life.

The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall.

The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis.

Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s.

This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads.

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.

After recently releasing the critically-acclaimed Plains album (I Walked With You A Ways) with Katie Crutchfield of Waxahatchee, Jess Williamson’s Time Ain’t Accidental is the sound of a woman running into her life and art head-on. With a vocal dynamic kindred to Linda Ronstadt and Emmylou Harris, Williamson blends the emotional immediacy and story-telling of traditional country with the artful, wholly honest transmissions of songwriters like Townes Van Zandt and Terry Allen. The album's reckoning with loss, isolation, romance, and personal reclamation signals both a stylistic and tectonic shift for Williamson: from someone who once made herself small to an artist emboldened by her power as an individual.

The Complex Inbetween is a mesmerising journey inspired by the spirit of krautrock early electronic music and experimental rock. JeGong return with their second full- length album which sees them continue their musical journey inspired by the spirit of krautrock, early electronic music and experimental rock. With The Complex Inbetween Dahm Majuri Cipolla (MONO, Watter) and Reto Ma"der (Sum Of R, Ural Umbo) put a dazzling spin on the timeless music of genre innovators like Can, Faust and Neu!, incorporating noisier and more abrasive elements to create a mental odyssey into the uncanny. Born from the collision of the most unreal moments of Ma"der's free-flowing musical associations with Cipolla's stick-wielding hands, these eight compositions form the duo's own mythical realm after the rhythm has been set. As the cradle of electronic music, krautrock is often viewed by outsiders in terms of the mechanical rather than the human, yet Ma"der and Cipolla manage to uncover a human side that has always been present in the music of their forebears. That driving beat which powers album opener «Come To The Center» was never meant to be called `Motorik', as explains its inventor Klaus Dinger of Neu! in one interview. "It is very much a human beat. I like to call it the endless straight. It's a feeling like a picture." With Cipolla behind the kit the machine becomes human, testifying to the power that rhythm can hold over us as a deeply communal obsession. Like their debut, The Complex Inbetween shows the profound knowledge these two musicians have of their source of inspiration as well as their tremendous skill in applying its principles. With the piece «Night Screaming Moves» JeGong expands their sound with atmospheric drone rock elements. A feedback laden guitar motif surrounds the oscillations of mellotron sounds, behind it pounds a slow motion drum beat that is reminiscent of dragging, shuffling footsteps in the dark of night. Evoking feelings of trench coat wearing film-noir or the cloying darkness of cult 70s horror flicks, «Night Screaming Moves» shows that not only are the duo of Ma"der and Cipolla experienced musicians, but cinephiles and soundtrack lovers with a strong sense for moods and emotions. RIYL Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn Ltd Coloured Vinyl!

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

White Vinyl

Greyscale #10 is here for the masses! To make things even more exciting, the long awaited is a double vinyl edition! Submersion has been on many top deep and dub techno labels in the past 15 years such as Silent Season, Space of Variants, Milieu Music, Deep Electronics, diametric, Rohs! and more. A landing at Greyscale makes complete sense for the quality Submersion is known for. 'Entrainment' is for those deep dub techno fans that like extended atmospheric tracks surrounded by a heavy ambience. 3 of the 4 sides have 1 track to its entire side making the fidelity of these top notch! 'Transversal, Planetary, Capsule' fills up side A with an amazing and gentle intro that has ominous clouds on the horizon. The beat is distance, while the nuances of the airspace is fully dedicated to submerging you deep within. A truly magical and enveloping sound. The next track to uncover is 'Filter, Gradation, Centrifuge'. Imagine that the earth is a ever-evolving dub techno track and you were viewing or listening to it from the distance of the moon. This would be it! There is a tremendous distance that is created in this track where chords flow and move like clouds over large areas of distance. Sometimes, the best description is a visual one if it helps. Breathtaking! 'Stimulant, Perspective, Sensory' starts the next piece of vinyl with another epic one. It morphs like a planet is being formed before your eyes. Basslines move like mountains while chords strike like distance thunder. The last side has 2 tracks sharing the side. 'Reflectance, Reverberant, Cortisol' and 'Predawn'. The first is a grandious ambient number that sounds heavenly while the last featured song is equally stunning as almost a reprise of a previous. Entrainment will be available on white 180-gram double vinyl as well as CD digipak and digital. These are all supersonic soundscapes to immerse yourself in! Masterpieces!

eid bereit für die unbesiegbaren Schweizer Hardrock-Legenden SHAKRA! Nach dem Erfolg ihres letzten Albums "Mad World" musste die Band einen plötzlichen Stillstand in der Welt hinnehmen. Doch davon ließen sie sich nicht aufhalten. Stattdessen steckten sie ihre Energie in die Entwicklung ihres neuesten Albums "Invincible". Mit Thom Blunier an der Leadgitarre und Mark Fox' gefühlvoller Stimme liefert das Album einen ausgefeilten und definierten Sound, der SHAKRA von ihrer besten Seite zeigt.

Mit "Invincible" beweist SHAKRA, dass sie noch lange nicht am Ende sind. Fans von Hard Rock und klassischem Metal werden von dieser neuen Veröffentlichung nicht enttäuscht sein. Das Album erscheint am 09. Juni 2023 und wird als Digipak und farbige 2-Vinyl-Edition erhältlich sein. Lasst euch diese epische Veröffentlichung einer der bekanntesten Schweizer Bands nicht entgehen!

Die 2006 im nordspanischen Bilbao (Baskenland) gegründete Melodic-Death-Metal-Band Rise To Fall hat sich in den vergangenen 17 Jahren ihren wohlverdienten Platz in der Metal-Szene etabliert.

Mit einem konstanten Output und zahlreichen Live-Shows und Festivalauftritten sind Rise To Fall für die Bereitstellung von Musik auf höchstem Niveau und ihre verheerenden Live-Shows bekannt geworden. Mit der Veröffentlichung von vier Studioalben hat die Band die Messlatte immer höher gelegt, was nicht nur zu zahlreichen Tourneen durch Europa, sondern auch zu Headliner-Touren in Japan und China sowie zu Tourneen mit Soilwork führte! Rise To Fall, die 2022 bei Noble Demon und Massive Music Booking Agency unter Vertrag genommen wurden, bereiten sich derzeit auf die Veröffentlichung des mit Spannung erwarteten fünften Studioalbums "The Fifth Dimension" vor, das am 9. Juni 2023.

Also macht euch bereit für das nächste Kapitel von Rise To Fall, das wieder einmal ihre eigenen Maßstäbe setzt und ihre Musik auf der ganzen Welt verbreitet!

Der langjährige Fates Warning Frontmann Ray Alder kehrt mit seinem zweiten Soloalbum auf InsideOutMusic zurück. Das Album umfasst 9 melodische, aber dennoch modern-schwere neue Songs, die mit Unterstützung der Gitarristen Mike Abdow (Fates Warning Tourmitglied) und Tony Hernando (Lords Of Black) sowie Schlagzeuger Craig Anderson (Ignite, Crescent Shield) entstanden sind. "II" wurde von Simone Mularoni (Rhapsody, Michael Romeo, DGM) abgemischt und ist als limitierte Digipak-CD mit Bonustrack und als LP auf 180gr. Vinyl erhältlich!

«The Truth» gilt weithin als einer der am meisten unterschätzten verborgenen Juwelen von Prince. Das Album wurde ursprünglich als Begleitung zum Triple-Album «Crystal Ball» aus dem Jahr 1998 veröffentlicht, mit dem Prince zum ersten Mal ein Album völlig unabhängig herausbrachte. «The Truth» war auch das erste Prince-Album, das als "akustisch" bezeichnet wurde, obwohl es elektronische Instrumente und Elemente enthält, und es gab den Hörern eine noch nie dagewesene Möglichkeit, sein Songwriting und seine Stimme in einer reduzierten Form zu hören. Erhältlich auf schwarzem Vinyl als Einzel-LP

The formidable Rex The Dog returns with his first single for Kompakt in three years, “Change This Pain For Ecstasy”, a slow-burning disco-glitter stomp that’s charged with analog energy. Pushing his self-built modular hardware set-up to its limits, “Change This Pain For Ecstasy” is taut and thrilling, stripped-back and pulsating, with sweeping chords shimmering through a classic Moroder arpeggio, as a delirious voice sings out a psychedelic raver’s plaint for liberation, pleading for you to "take away my sorrow and this pain”. Deeply emotional, it’s also a masterwork in tension and release, dizzy with snare-rush peaks, and dark, humid valleys where Rex is bound to the patchbay.

On the flipside, Rex gives us “Moto”, which tickles your ear with cymatic phenomena, its gentle vibrations building, beautifully, into a monster-piece of stealth techno. Rex’s DIY synths work overtime as he chases patterns and phases through circuitry, wielding the tones until they erupt into a spray of pointillist pizzicato. The sounds here crackle and corrode, the textures so tantalizing, so sensual, you can almost grab hold of them with your hands. It’s great to have Rex The Dog back, making livewire, yet deeply human techno, alive and bursting with electricity.

Der formidable Rex The Dog kehrt mit seiner ersten Single für Kompakt seit drei Jahren zurück, “Change This Pain For Ecstasy”, ein mit analoger Energie aufgeladener, stürmischer Disco-Glitter-Stomper. Man kann förmlich spüren, wie Rex’ selbstgebautes modulares Hardware-Setup an seine Grenzen gerät. “Change This Pain For Ecstasy” ist eine Hymne an das Nachtleben, an die kathartische Qualität einer durchtanzten Nacht. Über schwungvolle Akkorde und ein hochenergetisches Moroder-Arpeggio bittet eine delirierende Stimme um Befreiung von allem Leid und Schmerz. Das ist zutiefst rührend und emotional – da es sich hier aber um ein Meisterwerk der Spannung und Entspannung handelt – schwingt sich der Track plötzlich auf in schwindelerregende Höhen der Euphorie.

Auf der anderen Seite gibt Rex uns “Moto”, das das Ohr mit zymatischen Phänomenen kitzelt, deren sanften Vibrationen sich zu einem Monster von Stealth-Technotrack aufbauen. Rex’ DIY-Synthesizer machen Überstunden, während er Muster und Phasen durch die Schaltkreise jagt bis sie in einen Sprühregen aus pointillistischem Pizzicato ausbrechen. Die Sounds hier knistern und korrodieren, die Texturen so verlockend, so sinnlich, dass man sie fast mit den Händen greifen kann.

Es ist großartig, Rex The Dog zurück zu haben, der hochverdrahteten und doch zutiefst menschlichen Techno macht, voller Leben und Elektrizität.

Following on from the Bergisch-Brandenburgisches Quartett’s anarchic Live ’82 (BT095), Black Truffle continues its deep dive into the archives of legendary drummer/accordionist/photographer/composer/conceptual prankster Sven-Åke Johansson with Scheisse ’71. Recorded in November 1971 during the Berliner Jazztage at a heavy-hitting concert that also included the Spontaneous Music Ensemble and groups led by Peter Brötzmann, Manfred Schoof, and Masahiko Sato, Scheisse ’71 is the only document of a wild, otherwise unrecorded quintet featuring Johansson on drums, accordion and oboe d’amore, legendary free jazz vocalist Jeanne Lee, her husband Gunter Hampel on vibes, flute and bass clarinet, live electronics pioneer Michael Waisvisz on modified Putney (VCS 3) synthesizer, and the unknown Freddy Gosseye on electric bass. Part of a festival centred on giants of jazz like Duke Ellignton and Dizzy Gillespie, the radical performance shocked its audience, who can be heard heckling and yelling abuse at points, including the titular exclamation of ‘Scheiße!’ Clocking at just over half an hour and recorded in raw but detailed stereo by Johansson himself, the music burns with intensity while also making room for spacious passages and frequent dynamic movement. Beginning with Lee’s voice, Hampel on flute and Johansson on oboe d’amore in a bird-like game of call and response, the unexpected entry of Waisvisz’s tortured, squelching synth bursts prompts the first of many changes in energy and instrumentation, as Gosseye’s busy, roving bass enters and Johansson moves to the kit, his swinging cymbal work and juddering toms extending the approach of Sunny Murray or early Milford Graves. The presence of synthesizer, electric bass, and Lee’s highly amplified voice moves the quintet away from conventional free jazz textures, at times pushing into zones of abstract free sound reminiscent of what groups like MEV, AMM or Johansson’s MND were exploring in the same years. But the energy and joyful melodicism of the music keep it rooted in the tradition of American fire music and its European inheritors. Capable of changing gears in an instant from ferocious blow outs to fragile tapestries of chiming vibes and fizzing synth, the music finds space for Lee’s post-bop free scat (which integrates shrieks and howls just as a post-Ayler saxophonist might), Gosseye’s virtuosic bass runs (a rare attempt to apply the classic free jazz style of players like Alan Silva or Henry Grimes to the electric instrument), Johansson’s folkish accordion interjections, and even a sustained passage of unison bass clarinet and electric bass riffing in its second half. Special mention should be made of Waisvisz’s Putney performance, one of the earliest documents of this under-recorded instrument inventor and player, here playing a major role in giving the music its wildly exploratory, primordial air, his buzzing glissandi and bubbling filter sweeps at times howling like a distressed monkey. Arriving in an austerely stylish sleeve with beautiful black and white photographs by Johansson, Scheisse ’71 is an essential recording that adds yet another layer to our appreciation of this golden era of radical free music.

Die mit dem Mercury-Preis ausgezeichnete britische Rapperin Speech Debelle meldet sich mit einem neuen Album zurück. "Sunday Dinner On A Monday" ist eine Studie über Familie, Freunde, Abstammung und die DNA der Vorfahren durch den Blick des Afro-Futurismus. "Es geht darum, wie wir uns unsere eigene Zukunft vorstellen und dann erschaffen", sagt Speech. "Das Album handelt von unserer Reise durch das Leben, auf der wir aus Erfahrungen lernen, die unsere Sinne erweitern. Wir lernen inneres Management und kommen der Leichtigkeit näher. Manche von uns werden sogar genährt, wie von einer guten Mahlzeit. Darum geht's auf diesem Album. Corynne Elliot (geboren am 17. März 1983 in London, England), besser bekannt als Speech Debelle, ist britische Rapperin, die bei dem Plattenlabel Big Dada unter Vertrag steht. Für ihr Debütalbum Speech Therapy wurde sie 2009 mit dem Mercury Prize ausgezeichnet. Im Jahr 2012 veröffentlichte sie ihr zweites Album Freedom of Speech und 2017 ihr drittes Album Tantil Before I Breathe. Debelles Single aus Speech Therapy, "Spinnin", wurde von Tinchy Stryder und Dionne Bromfield überarbeitet und diente als eine der offiziellen Hymnen der Olympischen Sommerspiele 2012 in London. Die neuen Singles/Videos "Atlantis", "101010" und "Come Your Way" kündigen das im Juni erscheinende Album an!

Teesy (Künstlername für Toni Mudrack) musste sich immer öfter Zweifeln stellen, hat die Freude am Musikmachen verloren - Doch irgendwann platzt der Knoten und er nimmt die Studioarbeit wieder auf. »Das war ein Gefühl wie früher. Eine Leichtigkeit, die ich sehr lange nicht mehr gespürt habe.« Die neue Motivation zeigt sich nicht nur im Texten, sondern auch in der Musik selbst. Er spielt Drums, Klavier, Gitarren und Bässe selbst ein. Keine Libraries, Loops. Kein Copy'n'Paste. Stattdessen handgemacht von vorne bis hinten, wie aus einem Guss. Eben richtige Songs. Mit Dynamik und Struktur. Keine Zweifel, keine Ängste. Wenig Kopf, stattdessen viel Bauch und noch mehr Herz. Teesy ist eben doch Kein Künstler.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Avishag Cohen Rodrigues is an artist and musician based in New York. She broke out to the Tel-Aviv underground scene at age 18 with the guitar drum duo Laila. Since then she has been playing electric guitar with Ryskinder, Sloppy Jane, Cumgirl8. She has a forthcoming solo project where she plays too many of the instruments. She is currently an MFA candidate at Columbia University in the Sound Art Department.

In 2019 she released her first EP “One Winter One Hunter” with Baby Satan Records (Berlin). She has opened for major acts such as Dirty Beaches, Better Oblivion Community Center, Mac DeMarco, Psychic Ills, Deerhoof, Cloud Nothing, Night Beats, Wire, The Shivers.

‘Deep Blue Dreams’ ist das Debütalbum des in Berlin lebenden, 26jährigen Musikers, Sängers und Produzenten Lucas Herweg alias LLUCID. Inspiriert von Vorbildern wie Kendrick Lamar, J. Cole, Frank Ocean oder Ty Dolla $ign, lässt LLUCID jegliche Grenzen zwischen Rap und R&B konsequent verwischen. Die 12 Songs stehen fernab aller Stil- und Genreschubladen und liefern Banger zwischen Rap und Trap, sanfte Soundwellen mit exquisiten Beats und traurigem Autotune, hymnisch-sakralen Hip-Hop und ein ungewöhnliches Duo mit der britischen Sängerin Kimbra, die mit ‘A Reckoning‘ bereits eines der Alben des Jahres veröffentlichte. Nach Kollaborationen mit Samy Deluxe, Hundreds und Wallis Bird und der ersten 6-Track-EP ‘Getting In Touch’ im Frühjahr 2022 auf Grönland pusht LLUCID jetzt konsequent sein Solowerk.

"Come, Sweet Death" wechselt zwischen Brutalität und sich windenden Single-String-Melodien, die einen in die goldenen Zeiten des schwedischen Death Metal zurückversetzen!

Man sagt, dass je mehr sich die Dinge ändern, desto mehr bleiben sie gleich. Wenn es eine Sache gibt, die stabil geblieben ist, obwohl wir im Jahr 2023 leben, dann ist es, dass wir schwedischen Death Metal lieben. Dieser Stil hat sich in den letzten 35 Jahren zu einem unsererFavoriten entwickelt.
Irgendetwas am Gitarrensound macht einfach Lust, jede Veröffentlichung zu verschlingen, die als "inspiriert von frühen Entombed und Dismember" beschrieben werden kann. Das Gute daran ist, dass es eine unglaubliche Fülle von Bands gibt, die aus dieser Quelle schöpfen. Das Schlechte ist, dass dieser Reichtum dazu führt, dass viele Bands nicht mehr zu unterscheiden sind, weil sie sich so sehr ähneln.

Glücklicherweise gelingt es lmperishable mit "Come, Sweet Death", aus der Masse herauszustechen, was nicht zuletzt daran liegt, dass sie sich von den üblichen Merkmalen des Genres lösen. Und in gewisser Weise ist das keine Überraschung, denn die Bandmitglieder waren oder sind an Vampire, Portrait, Nominon und Dr. Living Dead beteiligt! Wie Sie vielleicht schon gemerkt haben, hat die Band vieleEinflüsse aus der Stockholmer Szene, insbesondere von Dismember, was nicht zu leugnen ist

Lande Hekt continues her poignant musical introspection with two singles ‘Pottery Class’ and ‘Axis’. Bittersweet ‘Pottery Class’ captures the feeling of yearning for someone and longing for a space to share with that person. In the song, Lande reflects: “we could move to the city, go to shows and join a pottery class / But you’d always be overwhelmed by everything that moves too fast / I don’t care where we live, I just want you back.”

Second single, ‘Axis’, conveys wistful and fleeting thoughts of loneliness and the desire for freedom, transforming elusive feelings into concrete experiences: “Late nights keep me down but it’s different from how it used to be / Birds fly past the window and Lola wishes she was free.” After spinning in a hazy stream-of-consciousness amongst hypnotic guitar-driven instrumentals, Lande resigns “It’s always the bad days that keep me from pushing forward.”

"I was asked to remix this pop-rock hit when it came out 10 years ago, I loved the vocal and the idea of giving it a nu-disco flavor so I started working on it but unfortunately, I couldn’t deliver it on time. A few years later I finished the remix and started playing it in my DJ sets, the feedback is always great and I kept getting “track id” requests for it. So we talked about it with Paul Hammer from Savoir Adore, their label kindly agreed to license it to us, and here it is! This is the 20th release for Nano Rec on the 20th year anniversary of the label and after a 10 years break in which I was focused on a number of other musical projects and also amassed a lot of unreleased Spiller music that we’re now gonna bring to light." Spiller

The horses are out of the barn…and it’s time to trot. Introducing Mortar & Pestle: a union between two of Canada’s dance bandits at large. D. Tiffany & Maara come together to bring you pure delicious magic. These tracks are fresh out the skillet and piping hot on your plates. Dip us in maple syrup and throw us to the lezzies!

What do you get when you stir the pot…or grind the pestle? Wet, bubbling, sticky, throbbing bangers that make you lose your mind. Two’s company, but three’s a party. Sweetheart Hannah Karpinski hops in with her provocative Polish vocals, ready to ignite the freak fire and desire in this world and beyond. Unhinged, raw, and chaotic, burning the whole barn down. Enjoy this 4-track offering of hypnotic indulgence. Mortar & Pestle: Pound or be Pounded? Whatever you fancy, you’re in for a treat.

Blackened thrash veterans LEGION OF THE DAMNED slay on new studio album The Poison Chalice The LEGION slays again! Dutch thrash veterans LEGION OF THE DAMNED have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice, on May 26, 2023 via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. Founded in 1990 as Occult, the thrash machine around founding members Maurice Swinkels and Erik Fleuren was reborn as LEGION OF THE DAMNED in 2005. On The Poison Chalice, the band unites with Fabian Verweij as second guitarist besides Twan van Geel and hails together with bassist Harold Gielen performing as a five piece for the first time ever on a studio album. Conquering the European charts for decades, the LEGION crowned itself at #17 in the Official German Album Charts with predecessor Slaves Of The Shadow Realms (2019). For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene. The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song ""Contamination"" absolutely kills. In classic LEGION OF THE DAMNED manner, there is no escape as the track relentlessly drives into the abyss. The album spreads brutal and ice cold thrash soundscapes through relentless attacking drums and incredible guitar harmonies from both lead guitarists, underlined by angry bass lines. Infectious thrash treasures such as “Progressive Destructor”, and the almost seven-minute berserk “Behold The Beyond” break necks with hammering guitar riffs and bloody double bass infernos. “Beheading of The Godhead” delivers what the song title promises, before the past 48 minutes of hate closes with a final deep gulp from “The Poison Chalice” - leaving no one behind. Together with producer Erwin Hermsen, the band has closed the gates of the underworld in Toneshed Studio and demonstrates that they remain the unchallenged masters of brute and unrelenting death-thrash metal in 2023

Donovan Woods was curious: What if he re-recorded Both Ways, his acclaimed 2018 record that won him a Juno Award for contemporary roots album, and distilled its 12 songs to their bare essence? An “acoustic reimagining,” if you will. “We started from scratch,” he says, from the instrumentation to his vocals to a fresh understanding of the heartache and regret that underpinned those songs. “There are no recording elements carried over from that album. It’s all brand-new.” Woods ended up with The Other Way, his album that brims with inspired interpretations of Both Ways that are intimate yet startling in their urgency. Released on May 3, 2019 on Meant Well, this release is a reminder of why the Canadian artist has become such a sought-after songwriter whose work has been recorded by Tim McGraw (“Portland, Maine”) and Lady Antebellum’s Charles Kelley (“Leaving Nashville”), with Spotify streams approaching nearly 90 million. You’ve always been able to hear and connect with Woods’ words. But an odd sensation washes over you when the varnish is wiped off of Woods’ songs. Somehow the lyrics burrow with even greater resonance and then linger like little smoke rings. For a producer, Woods enlisted ace guitarist Todd Lombardo, who produced Woods’ song “Portland, Maine” in 2015 and wrote and played most of the guitar parts on Kacey Musgraves’ Grammy-winning Golden Hour. Woods gave Lombardo artistic license not only to change the chords and song structures but to overhaul the arrangements with acoustic instruments and Lombardo’s luminous guitar work as the centerpiece. “I think this album draws out the pain and the darkness of these songs,” Lombardo says. “The record is about loss and failure and feeling like you fucked it up, and there’s no mistaking that. You hear every single word – and feel it, too.” Coming on the heels of “Go to Her,” Woods’ first song of 2019, The Other Way is so revelatory that it makes you wonder why he didn’t try this approach sooner. “It’s always been an interesting idea to me, especially when you’re an artist like me who inherently disappoints some people anytime your sound gets bigger,” Woods says. “But a really good song is a good song in any arrangement. It’s like a beautiful hardwood floor. You can put any furniture in there, and it’s going to look good.”

Rob Grant präsentiert sein atemberaubendes Debütalbum ”Lost At Sea”.
Grant hatte nie den Plan, Musiker zu werden. Er hat keinerlei musikalische Ausbildung genossen. Noten lesen kann er nicht. Aber wenn er sich an ein Klavier setzt, geschieht etwas Magisches. Die Noten strömen aus ihm heraus und es entsteht eine Komposition nach der anderen.

Als Vater der internationalen Ikone Lana Del Rey hat er eine ganze Reihe von Talenten eingeladen, an der Entstehung des Albums mitzuwirken.

Seine Tochter Lana Del Rey ist als Autorin und Produzentin tätig, während Jack Antonoff, Luke Howard, Laura Sisk und Zach Dawes an der Produktion beteiligt sind.
Sein Album inklusive der Tracks ”Hollywood Bowl” und ”Lost At Sea”, mit Vocals seiner Tochter Lana Del Rey, erscheint am 09. Juni und ist vorbestellbar auf CD und Vinyl.

Nach über 40 Millionen Streams war Oceans Ate Alaska bereit, ihr neues Album Disparity zu veröffentlichen.

Inspiriert durch die gemeinsame Vorliebe für Bonobo und Alina Baraz, veredelte Kollaborateur Clem Cherry die Produktion mit luftigem Beat-Handwerk und eindringlichen Klangakzenten. ”Für uns geht es darum,
die Hörer zu erheben”, sagt Harrison. ”Wir wollen, dass sie sich ermächtigt fühlen und erkennen, dass sie die Veränderung sein können, die sie wollen. Das ist es, was wir immer noch tun. Es ist schon lange her, dass wir ein Album herausgebracht haben, aber wir sind noch da.

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

Matt Berry’s second album for Acid Jazz was the astounding ‘Kill The Wolf’. Building on and expanding on the sound of his label debut, it mixed baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the ruralistic ‘Gather Up’, as featured in ‘What We Do In The Shadows’, and the nine minute ‘Solstice’, as championed by BBC Radio 6 Music.
Zuerst veröffentlicht im Jahr 2013 feiert 'Kill The Wolf' seinen 10. Geburstag. Auf seinem zweiten Album führt Matt Berry seine progressive Musik mit 70-Jahre-Pop und psychedelischen Experimente fort und etabliert sich mit einem von der Kritik gefeierten Werk weiter als Musiker.

Anlässlich des zehnjährigen Jubiläums des Albums sind Deluxeversionen von Tracks erhältlich - in einigen Formaten zum allerersten Mal. Die Doppel-LP im Gatefold-Format enthält das Originalalbum auf der LP und das gesamte exklusive Material auf einer zweiten LP.