Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Schwan', ursprünglich 2003 veröffentlicht, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.
Eye to the Telescope: Stargazer Edition
Die mehrfach mit Platin ausgezeichnete, mit dem BRIT Award ausgezeichnete und für den Grammy®
nominierte Künstlerin KT Tunstall feiert den 20. Jahrestag ihres legendären Debütalbums „Eye To The
Telescope“ mit Neuauflagen der Sonderedition „Stargazer“. Diese Editionen sind exklusiv auf Vinyl und CD
erhältlich und enthalten bisher unveröffentlichte Aufnahmen, B-Seiten und exklusive Live-Sessions. Das
2004 erschienene Album „Eye To The Telescope“ katapultierte die schottische Singer-Songwriterin KT
Tunstall ins globale Rampenlicht, angetrieben von ihrem unvergesslichen Live-Debüt von „Black Horse and
the Cherry Tree“ auf „Later…“ mit Jools Holland. Das Album erreichte Platinstatus in Großbritannien und
den USA. Das Album enthält mehrere herausragende Titel, darunter die bereits erwähnten Titel „Black
Horse and the Cherry Tree“, „Other Side of The World“ und insbesondere die Hitsingle „Suddenly I See“,
die nach ihrem prominenten Auftritt in der Eröffnungssequenz von „Der Teufel trägt Prada“ zu einem
prägenden Moment der Popkultur wurde.
Die Stargazer-Editionen von Eye to the Telescope enthalten drei neue Songs, darunter „Cancerian“, „Anything At All“ und den Titeltrack „Eye To The Telescope“. Diese Songs wurden während der OriginalSessions begonnen und bis zu diesem Jahr unvollendet gelassen.
Eye to the Telescope: Stargazer Edition
Die mehrfach mit Platin ausgezeichnete, mit dem BRIT Award ausgezeichnete und für den Grammy®
nominierte Künstlerin KT Tunstall feiert den 20. Jahrestag ihres legendären Debütalbums „Eye To The
Telescope“ mit Neuauflagen der Sonderedition „Stargazer“. Diese Editionen sind exklusiv auf Vinyl und CD
erhältlich und enthalten bisher unveröffentlichte Aufnahmen, B-Seiten und exklusive Live-Sessions. Das
2004 erschienene Album „Eye To The Telescope“ katapultierte die schottische Singer-Songwriterin KT
Tunstall ins globale Rampenlicht, angetrieben von ihrem unvergesslichen Live-Debüt von „Black Horse and
the Cherry Tree“ auf „Later…“ mit Jools Holland. Das Album erreichte Platinstatus in Großbritannien und
den USA. Das Album enthält mehrere herausragende Titel, darunter die bereits erwähnten Titel „Black
Horse and the Cherry Tree“, „Other Side of The World“ und insbesondere die Hitsingle „Suddenly I See“,
die nach ihrem prominenten Auftritt in der Eröffnungssequenz von „Der Teufel trägt Prada“ zu einem
prägenden Moment der Popkultur wurde.
Die Stargazer-Editionen von Eye to the Telescope enthalten drei neue Songs, darunter „Cancerian“, „Anything At All“ und den Titeltrack „Eye To The Telescope“. Diese Songs wurden während der OriginalSessions begonnen und bis zu diesem Jahr unvollendet gelassen.
Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.
The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.
Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.
As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."
Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!
"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.
The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.
"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.
The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."
The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.
A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!
When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."
Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."
Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.
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Ultima consegna 10 mesi fa riordinabile senza garanzia
London artist CASSIMM returns to Rekids with ‘I’ll Take You There’, landing 26th September 2025. It follows his recent remixes for label boss Radio Slave and his 2024 ‘House of Moves’ EP on the imprint, which won support from the likes of Paul Woolford, Dam Swindle, Hannah Holland, and Laurent Garnier.
CASSIMM’s 'I’ll Take You There' is a chunky House cut with powerful bass and rolling drums, joined by filters which build the vibe while a diva vocal rings out with raw emotion. It's a perfect mix of gritty production and infectious rhythm that lights up the floor with pure underground credentials, while the club mix of ‘I’ll Take You There’ hypnotises with a loopy feel and toughed-up groove.
Over the last decade, CASSIMM has amassed a massive following via a slew of chart-topping releases on labels like Defected, King Street, and Rekids. His best-selling, party-ready, and radio-friendly music earns consistent support across the globe, backed by BBC Radio 1 and artists like Honey Dijon, Nic Fanciulli, and many more.
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Ultima consegna 7 giorni fa riordinabile senza garanzia
Didjits verbanden ihre Liebe zu Hard Rock (AC/DC, Black Sabbath, Cheap Trick), Punk (Sex Pistols und vor allem die metallische Kunstshow von The Plasmatics) und Rock'n`Roll der 50er Jahre (insbesondere Jerry Lee Lewis und Little Richard) zu einer Marke, die, wie Dexter Holland von The Offspring treffend beschreibt, ,ein wackeliger Zug war, der kurz vor der Entgleisung stand". Bei chaotischen Live-Shows brachte Gitarrist und Sänger Rick Sims das Publikum gekonnt gegen sich auf und trug so zur Raserei des rasanten Rocks bei, den sie langsam perfektionierten. Jello Biafra, ein früher Unterstützer der Didjits, bewunderte ihre Fähigkeit, das Punk-Publikum zu vergraulen und es dennoch mit offenem Mund und Hörverlust zurückzulassen. Ab 1988 veröffentlichten die Didjits fünf Alben in voller Länge bei Touch and Go Records (darunter eine Neuauflage ihres 1986 selbst veröffentlichten Debütalbums Fizzjob) sowie zwei Singles und eine EP. Es folgten MTV-Videos, ausverkaufte Clubs, Tourneen durch Europa und Nordamerika - bis 1994 (ironischerweise das selbe Jahr, in dem The Offspring ihr Platin-Album "Smash" veröffentlichten, das ein Cover von ,Killboy Powerhead" aus Didjits 1990er Veröffentlichung "Hornet Pinata" enthielt). Diese LP, gepresst auf 180 Gramm schwerem, opakem lila Vinyl, ist ein Archivdokument der Band von ihren Anfängen im ländlichen Illinois bis zu ihrer Auflösung über ein Jahrzehnt später. Die ausgewählten Tracks vereinen 17 Fan-Favoriten aus Didjits' Touch and Go-Diskografie auf einer einzigen LP.
Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.
Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."
Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.
If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
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Ultima consegna 12 mesi fa riordinabile senza garanzia
Dillinger one of the most consistently successful DJ’s to come out of the Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.
Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working asa DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.
We have taken our set of tunes from his classic 70’s period when Mr Dillinger could do no wrong.Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.
A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..
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Ultima consegna 12 mesi fa riordinabile senza garanzia
The Shakes was a legendary Belgian psychedelic blues rock band founded by multi-instrumentalist Alain Verdier and active between 1967 and 1969. They played approximately 100 gigs in Belgium, Holland, France, and Germany, and once supported The Who. The young virtuoso guitarist in the group was none other than the late Dany Lademacher, who later gained fame as a sideman for Herman Brood and co-author of some of his biggest hits. Lademacher, also known for his own band Innersleeve and his work with Kleptomania, Vitesse, and The Radio’s, contributed to Shoot Me Baby with a wealth of previously unreleased material from personal archives.
Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.
A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!
A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.
Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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Ultima consegna 22 mesi fa riordinabile senza garanzia
‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music. The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection. Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.
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Ultima consegna 14 mesi fa riordinabile senza garanzia
'Maybe I'm Dreaming' ist die neueste Sammlung von Mikey Young (Total Control, Eddy Current Suppression Ring) und Keith Abrahamsson (Gründer und Leiter A&R bei Anthology Recordings) - den Köpfen hinter den beliebten Kompilationen 'Follow the Sun', 'Sad About the Times' und '...Still Sad'. Die zwanzig Tracks von 'Maybe I'm Dreaming' weichen von ihren Vorgängern ab. Sie stammen vollständig aus privaten Pressungen und umspannen neue Jahrzehnte und Produktionsmodi innerhalb der Genres Homepunk-Folk, Softrock und sonstiger FM-Radio-Musik der 70er und 80er Jahre. Die Magie von 'Maybe I'm Dreaming' liegt in den unerzählten Geschichten der Künstler:innen, die hinter diesen Liedern stehen - diejenigen, die den großen Durchbruch verpasst haben, deren Songhandwerk und unerwiderte Sorgfalt aber die richtigen Töne treffen.
'Maybe I'm Dreaming' taucht tief in die isolierte Wildnis ein - eine private Welt, in der Produktionsmacken, nächtliches Bandrauschen und Ein-Mann-Studio-Träume keine Wahl waren, sondern das ausgeteilte Blatt.
Die Songs wurden in persönlichen Sammlungen, in den Tiefen von YouTube, in verfallenen Webarchiven und in den düsteren Ecken von Discogs ausgegraben. Die Auswahl vieler Stücke basiert dabei nicht nur auf Intuition, sondern auch auf persönlichen Verbindungen. Einige Tracks wurden über Freunde entdeckt und fügen der Zusammenstellung einen unsichtbaren, aber tief empfundenen Faden der Kameradschaft hinzu.
Zwar entfernt sich 'Maybe I'm Dreaming' vom Archetyp des „traurigen Mannes mit Gitarre“, der über den Vorgängern schwebte, aber die vertraute emotionale Schwere bleibt erhalten - eine Balance aus Sehnsucht und Leichtigkeit, die diese Ecke des musikalischen Universums definiert. Jeder Track schwankt sanft zwischen Resignation und Hoffnung, Traurigkeit und Gelassenheit, als würden die Künstler selbst einem unerreichbaren Traum hinterherjagen und die Aufnahmen nicht wegen des Ruhmes, sondern aus dem einfachen Bedürfnis heraus machen, diesen ursprünglichen, kreativen Drang in die Welt hinauszutragen.
'Maybe I'm Dreaming' ist eine Einladung, noch ein wenig länger mit halb geschlossenen Augen im Grenzbereich zwischen Erinnerung und Vorstellung zu schweben. Vielleicht träumst du. Vielleicht bist du wach. Vielleicht spielt es keine Rolle.
- 2LP: (Das Doppel-LP-Set mit dem Artwork von Dang Wayne Olsen wird in einer breiten Kartontasche mit bedruckten Innenhüllen geliefert. Zudem enthält es einen Traumtagebucheintrag von Josh Lewellen, dem Experten für Artefakte aus dem pazifischen Nordwesten.)
Mark Robinson and Trevor Kampmann are Uncomfortable Police. They have been collaborating for years. First as Fang Wizard (2011) and then Party Milk in 2023. While those LPs are primarily instrumental, this new 15-song Michelin Star Hardcore album sees them both getting in front of the microphone as lead and background singers. Mark started and starred in the bands Unrest (who just released the 30th Anniversary edition of their Perfect Teeth album with 4AD), Air Miami, Flin Flon, Grenadine and more. Trevor’s records his solo material until the moniker hollAnd for years and has produced and mastered albums by the likes of Cat Power and Explosions In The Sky. On Mark’s seminal Teenbeat label that he formed at Wakefield High School in Arlington, Virginia, just outside DC. This physical phonograph record contains one extra song that will not be available digitally.
Pacific Rhythm is proud to introduce the first EP from label founder DJ D.DEE's new production alias, Pacific Spirit. The EP is a collaborative effort with long-time friend of the label Patrick Holland and was recorded at the Jump Source studios in Montreal, Quebec, earlier this year over the course of a few snowy days.
The Canada House EP slips through a myriad of influences, and the tracks aim to service the warm-up slot and the late-night crew. From slouched 78 bpm Balearic featuring D.DEE's vocals to storming acid, down to life-affirming disco with Holland ripping live bass, keys, and guitar. It's all here and ready for the club, radio, or wherever you choose to enjoy it.
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Ultima consegna 11 mesi fa riordinabile senza garanzia
The Soulful Trio, a band from Barcelona made up of three musicians with an international background (Spain, Holland, Argentina, USA, France) after playing their repertoire live in different venues for several months, with their songs well shot, have decided to record "Said & Done", in one of the best studios of Barcelona, nine original compositions of Soul-Jazz with derivations towards funk and blues.
Music reminiscent of the classics of the Hammond B3 organ trio such as Jimmy Smith, Jack McDuff, Lonnie Smith, Richard “Groove” Holmes or Big John Patton, reinventing the sound and bringing it closer to today with their vibrant fusion of genres full of energy.
Enjoy this instrumental Soul-Jazz album with these young veterans Homero Tolosa (drums), Pablo Sánchez (guitar) and Lucas Herrera Fernández (Hammond B3) in all their splendor with their respective instruments including the exciting & dynamic sounds of the Hammond B3, the great electric guitar groove of solos and huge variety of rhythms, playing a music that is always intense and made from their hearts.
Third album by singer and producer Charlotte Marionneau. A collection of sonic trips that try to capture the spark of beat poetry. She is almost a magician who has captured the directness of punk and can do magic with the emotion of pop. And she is always in the experimental grab bag. On the track 'Two-Love' Noel Gallagher plays piano and bass. Further on there is a Daniel Johnston cover presented as a duet with Terry Hall and his son Theodore and here Noel plays guitar. Marionneau reminds one of a female Syd Barrett. She counts among her admirers: Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic and Cillian Murphy. Le Volume Courbe "Planet Ping Pong" is a collection of sonic trips echoing fulgurances of beat poetry. Charlotte is a magician who can weave the directness of punk with the emotions of pop while staying in the realms of edgy experimentation. The bunny comes out of the hat smoking a cigarette and looks you in the eye. The single "Two-Love" is a collaboration with Noel Gallagher on piano and bass and Lascelles Gordon on percussions. The album also includes a cover by Daniel Johnston "Mind Contorted" which is presented as a duet with Terry Hall, and also features his son Theodore Hall and Noel Gallagher on guitars. The originality of Charlotte's music shares something with outsider art: naïve, primitive, primal, rather than following the standard rules. The new album selfproduced and mixed by Brendan Lynch and Charlotte is no exception, It's a unique and compelling listen laced with surprises, subversions and a refreshing candour which sets it apart from anything else. Charlotte was born and raised in France and moved to London in 1995. She was first signed to Alan McGee Poptones label in 2001, and her debut "I killed my best friend" was released in 2005 on Honest Jon's Records. She has also worked with a number of other bands and musicians including Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic etc.. Her song "Born to Lie" was featured in Series 2 of Killing Eve and Spotify selected her song "Rusty" for their "best of the decade 2010-2020" alternative compilation. Cillian Murphy selected the same song for his BBC6 compilation. "She reminds me of a female Syd Barrett... she keeps running into me all over the place from concerts or serving me ice cream at the Curzon on a wet Saturday night or on Jools Holland with the High Flying Birds... I love Charlotte... a great talent and a real psychedelic soul musician." Alan McGee "Inspiring originality, fiercely independent beautiful music, always years ahead of its time. I remember hearing Charlotte's music for the first time and being immediately taken by the freshness, great melodies and utterly unique approach." Kevin Shields "When I first met her she was wearing a cape... she looked like a little piece of Lego. She told me she liked some of my songs but not all. (I hadn't even asked her opinion!!) She's beautiful, fearless and one hell of a tambourine player." Noel Gallagher. "Charlotte is bewitchingly talented, a true rarity that has inspired many creative people. The kind of woman songs are written about. She's an artist that steals your heart away and then comforts you with her stunning music." Hope Sandoval. "A true original and a truly unique artist. There is not many I can say this about, but I honestly think I love everything she's ever recorded! All hail the Scissor Queen!" David Holmes.
This is not the end of a dark alleyway in some US city, this is not the bottom of a platform heel in England, this is not the back corner of some dusty drawer at a record fair in Holland. These are not the places you’ll find rock and roll. This is Quebec: A different sensory perception of rock and roll. A heightened awareness of the highest highs and the lowest lows. This is Belgium with snowmobiles, Catholic Texas, Ugly France. All the crumbling highways, the coldest beers, and the loudest joints. Guitars do different things in Quebec. PUFFER shimmy across the invisible barricade between Montreal and the rest of the world not just as another crop of punks but as the great descendants and inheritors of modern greats like INEPSY’s “Rock and Roll Babylon” and ANNIHILATION TIME's “II.” Loud, brash, unrelenting. You’ll go deaf before you get bored of it.
Self produced, self recorded, and mixed by the band, this is the vanguard of punk that has lived long beyond it’s moments of origin. This pure blast of 1979 by way of the hellish weimar end-times of 2025 never made the necessity of punk rock feel so real.
FFO SLAUGHTER AND THE DOGS, the 222s, THE DISCORDS, MOTORHEAD, INEPSY, AA Restaurant, Montreal pool room, Katacombes, and the eternal flame of punk in La Belle Provence.
Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.
