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CUT THE ENGINES is the third album by All Structures Align, following the critically acclaimed Details And Drawings and Distance And Departure (both released on Wrong Speed Records in 2022). All Structures Align began as a studio project reuniting brothers Tim and Adam Ineson of 90s underground rock heroes Nub. Their debut album Details And Drawings took everyone by surprise.

Rather than sounding like a tentative bedroom project, it arrived fully formed and with its own identity. It was an album of unhurried patience, of mounting tension (and eventual release) and it possessed a depth that rewarded repeated listens as irresistible hooks revealed themselves almost casually to the listener.

It also felt slightly out of time: no rush to the chorus, no gimmicks, no desire to pack out every second of space with sound. Lots of people agreed and the limited vinyl pressing sold out almost instantly. The follow-up came within the same year with the brothers recruiting drummer extraordinaire Neil Turpin (Objections, Bilge Pump, Polaris) to bring swing and pulse to their songs.

Distance And Departure was the result and widened their audience and acclaim further. So much so that the brothers decided to venture out and play live. To do so they brought in Oli Heffernan (Ivan The Tolerable, King Champion Sounds) on bass and Andrew Pollard (Polaris) on guitar and additional vocals.

If you’ve been lucky enough to see All Structures Align live over the last year, you’ll know this expanded band bring the songs to life beyond simple recitation. Those dynamic shifts in the music are now larger than life and fully multi-dimensional. Cut The Engines is the first All Structures Align release to capture the five-piece live band in the studio. Eight songs as spacious and measured as their previous work but with an increased directness and drama that seems to come from the interplay between people in a room.

Whilst never getting down to Ramones levels of brevity, the songs are compact and sharper than before, as though the addition of extra personnel has allowed their musical language to become more concise and effective. The songs still feel like rich novels condensed into short stories, but the band format has brought a confidence and ease to the telling that increases their impact. The resulting record is their most accessible yet, a slow-core indie-rock masterpiece that will intrigue and delight existing fans and newcomers alike for decades to come.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Im Jahr 1997 läutete "Solid" ein neues Kapitel in der Geschichte von U.D.O. ein. In den darauf folgenden Jahren sollte eine Vielzahl weiterer Heavy Metal-Meilensteine folgen. Nach nun über 25 Jahren werden diese Klassiker endlich neu aufgelegt. Am 24.11.2023 erscheinen die ersten vier Alben der Reihe - teilweise zum ersten Mal - auf Vinyl. "Solid" wird dabei als limitierte Silber-Vinyl erhältlich sein.

Lijf Aan Lijf is an album by Doe Maar, released in 2023. Lijf Aan Lijf includes a.o. the following tracks: “Doe Maar Net Alsof”, “O.K.”, “Je Loopt Je Lul Achterna”, “Dansen Met Alice” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve pop 2-LP.

Deer Tick’s debut album, ‘War Elephant’, is back (even though it never went anywhere). It is the same stellar album released in 2007 and then reissued by Partisan in 2008. This version of the album finds us returning to the original 2007 illustrated cover. This cover will become the new standard version of the album across all formats. The music and track listing remains the same.

John McCauley III wrote, arranged, played, and recorded the album at the tender age of 21. The album is full of songs wiser and more nuanced than John should have been able to produce according to natural law. The words are deliberate and heartfelt and follow the lead of singer / songwriter heroes of John’s like Townes van Zandt, Neil Young and Richie Valens.

The album concludes with a cover of the 1962 GRAMMY-winning Song Of The Year, ‘What Kind of Fool Am I’, made famous by Sammy Davis, Jr.

It can safely be said that this debut album is a genre defying classic; it’s a hook filled bar room rock album that is as connected to 90’s Seattle catchy gloom as it is to left-of-the-dial late 80’s Minneapolis and 70’s Austin honky tonk.

140g Heavy Metal Grey (gun metal grey) coloured double LP with an etching on side D, housed in a single sleeve jacket with printed insert.

Original release press included reviews from Pitchfork and The Line of Best Fit plus support from Billboard, Brooklyn Vegan, All Music and American Songwriter.

Philly local talents at the crossing of the 6’s and 7’s, they were initially known as The Twilights. At the time they only recorded 3 songs

for demo purposes. Although all musicians were featured on many productions from Manny Campbell’s stables, The NuRons’ All Of My Life and I'm A Loner being a couple of them. During the mid 1970's The Delights did go on to record and release a few 45's for the Phil-L.A Of Soul Label. Like the previous release in the Unsung Heroes program, these masters are phisically preserved at University of Philadelphia.

1963 album from the Cuban conguero Mongo Santamaria. Featuring his brilliant cover version of Herbie Hancock's classic title track, along with numerous compositions of his own, this is one of Mongo Santamaria's most famous and coveted albums. From the iconic cover to the brilliant grooves contained within, this album has the whole package. Excellent latin jazz and latin-soul groovers from a Cuban hero, and one of the most famous performers, full stop, of the middle 20th Century.

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

Devilish is an album surrounded by a darkest atmosphere, its lyrics show urges experienced in our century, such as the constant degradation of the Amazon rainforest and the population increasingly affected by psychological illnesses such as anxiety and depression At the same time, it opens windows of escape for an imaginary world inspired by games, series and fiction books. In their second album with the new lineup, Mayara Puertas (Voice), Rene Simionato (Guitar), Castor (Bass) and Amilcar Christofaro (Drums) transcend the sound of extreme metal with maturity, incorporating progressive metal, influences from Brazilian music and symphonic elements.

The album also honors Brazilian heroes with a participation of Andreas Kisser (Sepultura) in the track "Buried Alive", and a tribute to Rickson Gracie the resilient fighter of Jiu Jitsu considered one of the greatest legends in this sport, the theme of the track "Warrior". The band also mobilized several musicians related to indigenous causes in their country to collaborate on the song "Uatuma", making an appeal for the preservation of the Amazon in a song that flows in an powerful way with the speeches of the indigenous leader Raoni Metuktire and tribal rhythms. For the cover art, the band had Marcelo Vasco, a Brazilian illustrator who has already created artworks for Slayer, Dimmu Borgir, Soulfly among others.

TEMIC haben gerade mal ein Album aufgenommen, aber um an diesen Punkt zu gelangen, musste diese Supergruppe durch ein ziemliches Karrierelabyrinth navigieren. Die Jungs haben bereits mit Devin Townsend, Mike Portnoy's Shattered Fortress, Neal Morse, SHINING und Maraton gespielt. Aber erst als die Welt im Jahr 2020 stillstand, kamen Keyboarder Diego Tejedia und Gitarrist Eric Gillette dazu, gemeinsam eine Band zu gründen.

Ihre Idee war nicht gerade einfach: ihre Vorliebe für energiegeladene Electronica und Killer-Melodien in einer modernen Prog-Metal-Band zu orchestrieren. Aber mit der Verpflichtung von Sänger Fredrik Klemp und Simen Sandnes am Schlagzeug haben Temic es geschafft, dieses Konzept zu verwirklichen. Terror Management Theory" ist voller Wendungen und Überraschungen. "Count Your Losses" zermalmt tonnenweise Tech-Riffs, während "Falling Away" in ein schwarzes Loch aus sternenklaren Synthies abdriftet. Am Ende dieses labyrinthischen Albums steht "Mothalah", ein siebenminütiges Epos, das -angeführt von einem heroischen Falsett - nie aufhört, nach dem Himmel zu greifen.

TEMIC haben gerade mal ein Album aufgenommen, aber um an diesen Punkt zu gelangen, musste diese Supergruppe durch ein ziemliches Karrierelabyrinth navigieren. Die Jungs haben bereits mit Devin Townsend, Mike Portnoy's Shattered Fortress, Neal Morse, SHINING und Maraton gespielt. Aber erst als die Welt im Jahr 2020 stillstand, kamen Keyboarder Diego Tejedia und Gitarrist Eric Gillette dazu, gemeinsam eine Band zu gründen.

Ihre Idee war nicht gerade einfach: ihre Vorliebe für energiegeladene Electronica und Killer-Melodien in einer modernen Prog-Metal-Band zu orchestrieren. Aber mit der Verpflichtung von Sänger Fredrik Klemp und Simen Sandnes am Schlagzeug haben Temic es geschafft, dieses Konzept zu verwirklichen. Terror Management Theory" ist voller Wendungen und Überraschungen. "Count Your Losses" zermalmt tonnenweise Tech-Riffs, während "Falling Away" in ein schwarzes Loch aus sternenklaren Synthies abdriftet. Am Ende dieses labyrinthischen Albums steht "Mothalah", ein siebenminütiges Epos, das -angeführt von einem heroischen Falsett - nie aufhört, nach dem Himmel zu greifen.

The soundtrack to the comic strip "Lou! Sonata 2" will plunge you into the heart of Dead Dung Fest, the music festival organised by the heroine and her friends. The ten (fictional, created by the Krystal Zealot collective) bands who perform there are present on this record.

Existential bossa nova (Le Marquis du Néant), Swedish electronic folk (Frikoppling), steamy fusion (Cyriak's Oak) or relaxed disco pop (Fur Pants): each track reinterprets the themes of the story and the moods of the characters.

The vinyl edition includes several bonus tracks based on the world of "Lou! Sonata" and the Dead Dung Fest: a poster, a series of 10 illustrated album covers corresponding to the different groups, the flyer and the official festival woven bracelet.

High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 2 inserts, 8 page LP sized booklet, poster. All tracks mastered by Patrick W. Engel at TEMPLE OF DISHARMONY in September 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, reissue 2023, transparent royal blue vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 2 inserts, 8 page LP sized booklet, poster. All tracks mastered by Patrick W. Engel at TEMPLE OF DISHARMONY in September 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels.

Stacey Kent is a classic jazz singer with a legion of fans, international honors and awards, sales in the
millions, and chart-topping albums spanning a 25 year career. As the title suggests, 1998’s Let
Yourself Go: Celebrating Fred Astaire, is a tribute to one of Kent’s heroes. The album features songs
from The Great American Songbook made famous by Astaire on film. Like Astaire, Kent seamlessly
and easily takes the audience along with her, creating an elegant intimacy in her performances.
Thanks to the tight arrangements, effortlessly executed by Kent's skilled section, the recording exudes
a remarkable sense of musical cohesion and sophistication. Kent's interpretation of the songs is
marked by her understanding of the lyrics, conveying their emotional depth and subtle nuances.
Produced by Kent’s long time companion and collaborator Jim Tomlinson and recorded at Curtis
Schwartz Studios, England, the album has been remastered and is available on vinyl for the first time
in over a decade as a 2xLP set. Remastered by Alex McCollough at True East Mastering. Vinyl cut by
Jeff Powell at Take Out Vinyl

First heard by global audiences on Sahel Sounds' Music from Saharan WhatsApp series, Malian guitar hero Bounaly (the stage name of Ali "Bounaly" Traore) makes his full-length debut with "Dimanche à Bamako" ("Sunday in Bamako"). Recorded live on location, the music on "Dimanche à Bamako" is a mix of regional favorites, traditional standards, and originals. Long songs with looping rhythms, pounding kick, and electric shredding guitar, punctuated by shout outs to the guests of honor. A raw and frenetic take on Northern Mali desert sound, playing for the diaspora at a Bamako wedding.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

For much of this album, his 16th in 26 years, Hiatt reunites with his best band, the Goners, and takes a giant leap back to his still-hungry days as a jag-edged, Costello-esque rocker while hewing to the soulful, blues-based songwriting he perfected on 1987's Bring the Family. The withering pub rock of 1979's Slug Line--as well as a nod to fallen hero Dale Earnhardt--seeps into the title track, while the roaring guitar, courtesy of the brilliant Sonny Landreth, and tight rhymes of "All the Lilacs in Ohio" suggest the streetwise edge of 1983's Riding with the King. But it's with ballads such as "Something Broken" and "Come Home to You" that Hiatt's musicianship, songwriting, and deeply soulful vocals truly convince and offer the most moving moments on this, his most memorable album in many years.

Twentysomething Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost single-handedly revived the rockabilly / honky tonk / hillbilly sound that was one of the cornerstones of country music’s formative years. Early on he discovered the fabled “Bakersfield” sound of the 60’s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck’s office and coaxed him into playing a few songs with him onstage that night. The result was a lasting friendship and their historic duet, “Streets Of Bakersfield.” Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years. - Terry Lickona (Producer Austin City Limits)

Encore!? Say no more.. Plush number 4 is here!
Elusive local live hero JCow soft launches into the arms of Plush Records, bringing a modern day classique to the underground masses. The Berlin based producer & DJ has been humbly making waves amongst prancers and dancers; unless you’ve been living under a rock!

“Wish U Were Here W Me” is a pupil dilating, rump shaking sunrise anthem; a melodic masterclass with a bassline that puts funky town to shame. Vocals expertly extracted from Brandy’s “Long Distance'' which soar like silk over a breathtaking breakdown.. tugging at heartstrings across the globe. The Emotional Breakdown mix is catering to the softies out there, stripped back and filling up your cup, pure natural ecstasy.

Close your eyes and get lost in the groove.

Rechtzeitig zum 20-jährigen Jubiläum des selbstbetitelten Melodic Power Metal-Meisterwerks wird das Debütalbum von Masterplan in drei Varianten neu aufgelegt! Die Masterplan (Anniversary Edition) wird erhältlich sein als limitierte Silber Doppel-Vinyl, limitierte transparent-gelbe Doppel-Vinyl und als Digipak inklusive Bonus DVD (FSK: 6). Freut euch auf den Release am 10. November!

Rechtzeitig zum 20-jährigen Jubiläum des selbstbetitelten Melodic Power Metal-Meisterwerks wird das Debütalbum von Masterplan in drei Varianten neu aufgelegt! Die Masterplan (Anniversary Edition) wird erhältlich sein als limitierte Silber Doppel-Vinyl, limitierte transparent-gelbe Doppel-Vinyl und als Digipak inklusive Bonus DVD (FSK: 6). Freut euch auf den Release am 10. November!

“A piece of music never truly comes to An end. Revisiting a theme illustrates this idea that life goes on.” These are the words of Wayne Shorter, uttered in 2018 upon the release of Emanon, his final opus. On this record, the octogenarian uses dusky hues to shade in the passions of his youth - drawing and science-fiction, as well as the causes he has defended all his life - the fight against ecological upheaval and structural racism. This sentiment did not fail to resonate with Julien Lourau, who has reached a stage in life where he has begun to look back over certain pages written by the man he has always considered one of the masters of his trade. Five years later, this Parisian native has also chosen to revisit his glory days, offering reworked versions of specific tracks composed by his titular elder throughout the 80s. “When I play this music, I find myself back in my teenage bedroom. These are my standards, and they remind me of autumn in Rambouillet.” At that time, after practising his scales, Julien would also play Dungeons & dragons, and immerse himself in SF as well as heroic fantasy - epic influences which are not without a certain connection to the dreamworlds Shorter conjured up, as another fan of landscapes beyond the grasp of reality.

This album features four themes taken from Atlantis, which came out in 1985, and two from Joy Ryder, released three years later. To these, he has added a composition penned at around the same time for Sportin’ Life, the penultimate LP by Weather Report. This is rounded off by a tune taken

from Native Dancer, the record which, ten years earlier, in 1975, brought together this saxophonist who learnt his trade alongside Art Blakey, before joining Miles’ second quintet, and Brazilian Milton Nascimento.

“Between Native Dancer and Atlantis, Shorter did not release anything under his own name, but he took the time and care to really perfect his writing. Upon his return, he injected a very Brazilian form of subtlety into his compositions, especially rhythmically. And from a harmonic point of view, these themes are extremely sophisticated, and reveal truly singular colours. In fact, he decided to display the score as if it constituted the liner notes of Atlantis.”

Julien Lourau is a fan of every Wayne Shorter era, from his Blue Note days, where Mr Gone defined the bases of a truly unique repertoire, all the way to his final quartet - a reference like no other. He decided to focus on this “highly electric” period, which is not necessarily Shorter’s best known, nor his most widely appreciated - despite being a unanimous reference, Shorter has nonetheless never had a direct descendent. In Lourau’s line of sight there lies a desire to focus on typically South American tonic accents which characterise this repertoire, twinned with the ambition to switch up their actual sound “by attempting to open up onto a production highly influenced by eighties fusion". However, he admits that modifying the structures of these most unique of worlds constituted a fresh challenge. “There’s this labyrinthine harmonic system where you’ve no idea how it holds together, but where it’s actually impossible to touch the slightest element without the whole edifice wavering. It is in fact a very difficult thing to achieve!”

In order to successfully transcribe all this creativity free of obstacles, Julien Lourau once again called upon the help of Mathieu Debordes. From January 2023 onwards, Mathieu endeavoured to break down all the musical elements, on paper, before creating any actual music. The record was therefore constructed on the faith of these scores, without necessarily transiting through a creative residency - just two live gigs, to make sure the setup worked. Besides Mathieu Debordes and his synthesisers, Julien Lourau has assembled an ad hoc team by his side. On the bass, according to the track, we can hear erstwhile companion Sylvain Daniel or a new acolyte on the fretless bass, Joan Eche Puig.

Stéphane Edouard, on percussion, even dives headfirst into an unlikely proto-rap of sorts, on Pearl On The Half Shell (where, on the original version, Bobby McFerrin adjusted his interventions in a rather madcap style). Aesthete and drummer Jim Hart as well as pianist Leo Jassef also figure on this release - both were present on previous project devoted to label

CTI. “At sixteen, I wanted to sound like Michael Brecker rather than Ben Webster - that was equated with modernity in those days”, adds Julien with a smile, as for him, all this rings out a little like a logical next step, a joyful immersion into the fountain of youth. And if, for this record, he plays the soprano more than ever, the saxophone Shorter set in his sights on, he never tries to replicate an unattainable ideal note by note. What would be the point?

“Wayne Shorter is not just a saxophonist’s saxophonist. In fact, I don’t know a single person who has risen to challenge of his solos. I have not done it myself either, but on the other hand, I have retained a lot of his phraseology. His way of approaching the instrument reveals a more evanescent language, a work on colour and shape. Keeping this in mind has allowed me to gravitate towards certain elements, that in hindsight, I find echoes of in my work, even in Groove Gang.” Shorter etches out these phrases, creating a groove within which Lourau had traced subtle punctuation, managing, from a highly written base, to create fresh apertures, promises of a great escape. Emblematic of this standpoint, his regal version of Ponte de Areia, originally a wonderful dialogue between Milton Nascimento and Wayne Shorter. Here, the Frenchman takes liberties with the original melodies, without ever growing distant from the original spirit, extending one section with delicacy, offering a rubato development and then a groove “like a little suite”. Julien Lourau also renews with an accomplice from last century, Magic Malik, who lends his high-pitched vocals to the track. Though they had not recorded together for more than twenty years, the two of them got on as if they had only ceased collaborating yesterday, everything flowed naturally. The track was wrapped up in just one take, much like other themes, such as opener Who Goes There where the flautist deploys smooth, enchanted and smoky wisps.

Fundamentally, reflecting of the sleeve which features a child playing with a ball, image that could symbolise the sun just as much as the moon, Julien Lourau manages to translate the ambiguous candour which characterizes Shorter’s work - solar and crepuscular at the same time, that of a visionary and poet definitively situated outside of all chronology, but with whom Julien shares surprising and ‘timely’ coincidences. Shorter was born August 25, 1933, the same day as Julien’s father, “if we take time zones into account”, and who died on Lourau’s birthday, March 2, 2023. Should we take this as a random fact? Or could we not see here the sign of a destiny connecting the agnostic Frenchman to the man who, as a fervent Buddhist, believed in the transmission of his spiritual flow ?

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

It is time to succumb to the sounds of the Magic Wand label once more and this eighth sonic spell is another one that will leave you happily helpless. It finds the Coyote lads step away from their fine work on Is It Balearic? to cook up two top edits. First up they offer 'Lonely' - a broody, steamy and shimmering tropical Balearic workout and then comes the organic and lazy drums of 'Western Revolution' with an iconic gravelly vocal from Gil Scott Heron. There are folk-tinged Americana sounds on 'Love Home' and laid-back disco licks on the seductive 'Luca' to make this a summer party essential.

Raw Materials Records’ back with their second V.A. showcasing an all italian lineup of local heroes, revered masters and talented newcomers.

Soundwise, the E.P. kicks off with Sicily’s finest Manuold serving a 90’italo house flavored rocket, keeps on banging with Curl’s Mpc craftsmanship skills, then going harder and darker with the acid tinged sounds of LSZ.

On the flipside, maestro Dj Soch serves another pure italian sounding house jam, followed by Davide Del Vecchio’s melodic lines and closed by the downtempo oddball by DJ Rou to complete the wide sound panorama journey suited for house enthusiasts and djs.

Have a listen, this one will stick in your bag for quite a while!

Willie Nelson - Greatest Hits jetzt auf CD und Vinyl erhältlich, anlässlich des 90. Geburtstags von Willie Nelson und seiner Aufnahme in die Rock & Roll Hall of Fame am 3. November. Diese Greatest Hits Compilation enthält Titel aus allen Epochen seiner Karriere, von den frühen 60er Jahren bis zu seinen letzten, mit einem Grammy ausgezeichneten Alben.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.

The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.

Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.

"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.

The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.

Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.

The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!

Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.

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

GREEN AND WHITE MARBLE VINYL.

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

OLAYA SOUND SYSTEM, Peruvian band founded 15 years ago and with a discography of 6 CDs, present their first vinyl release, comprising some of their most outstanding productions recorded between 2015 and 2022. Their songs explore the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century.
Just like Chico Trujillo, Frente Cumbiero or Son Rompe Pera are also doing, OLAYA SOUND SYSTEM are reaching a global impact modernizing tropical music.
This album is released on the recently revamped Peruvian label Rey Record, one of the essential and most iconic record labels during the golden days of cumbia and chicha, decades ago. Olaya Sound System was founded in Chorrillos, Lima (Peru), in 2009 and since then they have developed a very particular exploration of the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Both on the dance floor and in meditative listening, Olaya Sound System take us with this LP on a journey through bucolic landscapes of the Andes, the Amazon and the infinite Pacific Ocean, essential locations that constitute their native Peru and that have inspired very perceptibly their sound. This album, the band's first release on vinyl, comprising some of their most outstanding productions recorded between 2015 and 2022. Cultivators of a very particular tropical musical style, they collect and adapt the Peruvian traditions of the cumbia, chicha and huayno genres, and then blend them with a melting pot of contemporary Latin and global influences such as reggae, salsa, rock, among others.
Emerging from the Peruvian independent scene, Olaya Sound System reflect relevant social topics in its lyrics, such as the search for individual and collective consciousness, with a strong content of social issues. The band has become, from their native Peru, in one of the most interesting projects that modernize tropical music today, just like groups like Chico Trujillo, Frente Cumbiero or Son Rompe Pera, are also doing from different Latinamerican territories, reaching a global impact

The amphibian song revival begins here! This classic of both biological fieldwork and natural sound recordings, compiled and narrated by renowned herpetologist Charles M Bogert, was originally released by Folkways in 1958, and presents sounds of 57 species of frogs and toads (remastered from the original tapes) that were recorded in swamps, lakes, woods, creeks, and roadside ditches all over North America Listen to the bewitching tones of the Pig Frog, Dwarf Mexican Treefrog, Little Green Toad, Southwestern Woodhouse's Toad, Great Basin Spadefoot, and other unsung heroes of the bog creek. In a time when frog and toad populations are in rapid decline, this recording reminds us of the remarkable diversity and beautiful sounds we are in danger of losing.