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Made in the shadows by trusty producers who earned there stripes when MP3’S where just a twinkle in the interwebs eye. You will Defo hear this at Defected Croatia 2024.

2024 Repress

The newly remastered edition of the 1985 LP ‘Song of the Motherland’ by Shabaka’s father AnkAnu(formerly Anum Iyapo) will be reissued via Native Rebel Recordings. The album was remastered by Guy Davie at Electric Mastering, and has new cover art and design by Anum. The album will be available May 25th (African Liberation Day)

Info/Bio
Afrika Liberation Day (ALD) is observed on the 25th May. Events have historically been held on the weekend/bank holiday surrounding this date, which makes this coming weekend, ALD weekend.
The Album is a triumphant celebration of Afrikan-Caribbean verbal expression. The songs combine to haunting effect, the Rastafari Nyabinghi' drumming of Jamaican and continental Afrikan and Pan-Afrikan percussion and musical styles (even an Australian Aborigine Didgeridoo) with his folk-roots based Afrikan Jamaican vocal style.

The result is uniquely creative in construction and style, thought- provoking, entertaining and spiritual in content. The power of Anum I word and sound will paint mental imagery of red, gold, green and black.
Prepare yourself…

"Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. On these improvisations Francisco Mela sings themes inspired by the Cuban traditional repertoire."

Daniel Carter - Saxophones, trumpet, flute.
Leo Genovese - Piano.
William Parker - Bass, shakuhachi.
Francisco Mela - Drums, voice.

Recorded on July 16, 2021 by Jeremy Loucas at Sear Sound, New York City.
Mixed and mastered by Jeremy Loucas.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

Repress!

Two classic remixes from back in the early days of jungle and d'n'b, both sides feature heavyweight versions of one of the most well known anthems, Bad Ass. This EP is original stock supplied my Micky Finn, and is therefore extremely limited. We will not be able to restock it, once it has sold, there will be no more!

A joint collaboration between long standing L.A garage label In The Red, Universal Music Australia and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of (I’m) Stranded will feature 4 x vinyl long players covering all the band’s studio and live recordings from 1976 thru 1977 and includes; • The iconic debut album remastered for vinyl for the first time in over 40 years • A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time. • A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time • All three tracks from the 1977 This Perfect Day 12” single and all four tracks from the 1977 1-2-3-4 double 7” single • The previously unreleased 1976 demo mix of the full (I’m) Stranded album. In addition to all that vinyl (I’m) Stranded deluxe edition will also features a 28 page 12” x 12” photo essay of the band covering their origins from 1973 through the end of of ’77, authorised band history, an 8” x 10” 1976 promo photo and a (I’m) Stranded sticker.

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

In the galaxy of popular music, Elvis Presley can lay claim to
his very own constellation. It is not just the global record sales
he has accumulated, or the No.1 hits from all over the world -
nor even the songs made familiar by the 30-plus films he
made… It is simply that it is now impossible to imagine the
world of music without Elvis Presley. Nearly fifty years on from
that untimely death, the enduring legacy of Elvis leaves no
doubt as to who still reigns as The King…

New pressing of Oiro Pena's debut. All compositions & instruments played by A.E. Vauhkonen Risoprinted cover art printed by Timo Vaittinen Spiritual flute jazz by the mastermind Antti Vauhkonen. Originally released as a 20 copy edition lathe-cut, now on 10" vinyl. ”Wow where did this come from??!? Raw and essential outsider jazz which will be whispered about for years to come…” -Matti Nives / We Jazz "Vauhkonen’s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself.” – Markus Karlqvist

London-raised, Lisbon-based songwriter, producer, and DJ William Florelle has been on our radar at R2 Records for some time now having released some of our favourite organically soulful
electronic jams of recent times, so when the opportunity came to release some of his music it was a natural fit.

“Red Velvet” is a sultry and soulful jam that typically blurs the lines between Will Flo’s soul-driven influences from jazz through R&B to club-focused dance music capturing his unique organic yet
electronic syncopation.

The maestro Kaidi Tatham has delivered a stunning remix featuring his signature broken-jazz virtuosity – timeless music.

Karizma comes in the door with one of his beat-down Dubs for that late-night drop, and finally Ato Ayerra blesses the release with the Beringel “2am Snack” Remix.

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

2025 Repress
RAWAX proudly welcomes Janeret to the artist family! As big fans from day one, we are more than happy about this Fusion!

It's the first of hopefully many releases, we will do together. Momu EP is a fantastic debut, which couldn't sound better!
Highy recommended!

Absolute Überforderung, die einfach nur nervt. Am liebsten alles hinschmeißen und verkriechen. Doch SURALIN haben es geschafft, dem allgemeinen Fatigue-Syndrom zu entkommen. Sie haben mit "Nothing is the News" ein Album geschaffen, dass tief berührt, fesselt und gleichzeitig befreit. Der fünfte Longplayer des Chemnitzer Quartetts baut zunächst auf dem Sound seiner Vorgänger auf: ein feingesponnenes Netz aus diversen Indie- und Post-Whatever-Einflüssen, das trotz aller Komplexität ganz einfach und organisch wirkt. Die "Reduktion auf das Wesentliche", wie Bassist Matthias sagt, ist diesmal noch konsequenter ausgefallen. Live im Studio eingespielt und ohne instrumentale Overdubs oder zusätzliche Effekte beim Mix. "Das ist der pure Klang der Instrumente, unserer Pedals und des Aufnahmeraums." Im Ergebnis klingen SURALIN noch dringlicher als sonst, mit bewegender Tiefe. Auf dem treibenden Teppich von Schlagzeug und Bass können die beiden Gitarren ihr Mit- und Gegenspiel zwischen Melodie und Dissonanz entfalten. Die neun Songs beinhalten dabei erstaunlich viele arabeske Figuren sowie motorische Wiederholungen, die erhebliche Sogwirkung entfalten. Darin eingebettet ist der oft fragile Gesang von Alex, der den Zustand seiner Umwelt kommentiert. Laut Sänger Alex vereint der Albumtitel "Nothing is the News" die Gedanken, dass sich die Welt zwar ständig verändert, die Technologie weiterentwickelt und der Mensch sich drastisch vermehrt. Aber der Mensch als solches gleich bleibt. Macht, Unterwerfung, Ausgrenzung, Neid, Missgunst und Egoismus sind die vorherrschenden Themen." Trotz dieser Schwere wird in den Texten immer wieder deutlich, dass durch das eigene Verhalten Veränderungen möglich sind und der Wille zum Besseren überwiegt. Positive Verzweiflung. Außerdem sei der Titel auch eine Anspielung auf SURALIN selbst, die konsequent an der Leidenschaft zum Musik machen festhalten, so Alex.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

Skinshape (aka Will Dorey) releases his ninth studio album titled Another Side Of Skinshape on 27th September via Lewis Recordings. As the album title suggests, Dorey’s latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music - a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon.

Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. Whilst ‘It’s About Time’ and ‘Ananda’ display a slightly more synthesised palette than we typically hear of a Skinshape tune, singles ‘Stornoway’ and ‘Lady Sun’ (which features the hazy soul vocals of West London’s Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis.

Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.”

Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey’s live band. Indeed, Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road.

Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd’s Bush Empire to name a few. Skinshape’s ‘I Didn’t Know’ has streamed over 50 million times. He is proudly from Swanage, Dorest.

On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

For fans of Khruangbin, El Michels Affair, Tame Impala and Ezra Collective. Genre: Psych/Funk/Jazz/Breakbeat/Indie. Taken from the forthcoming Lewis Recordings album ‘Another Side of Skinshape’. Will Dorey aka Skinshape is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherds Bush Empire, to name a few. His ‘I Didn’t Know’ has streamed over 50 million times. Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. ‘Stornoway’ replicates the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis. Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.” Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road

September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."

September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."

2024 Repress

Undoubtedly the darlings of electro-pop, Satin Jackets finally unveil their debut artist album, 'Panorama Pacifico' featuring a string of cameos from vocalists familiar and exotic, jetting in from LA, Berlin, London, Belgium and Australia.

Scaling the heights of the Hype machine from their first release to the latest, and clocking up almost ten million plays on spotify, Satin Jacket's original brand of diva funk and smooth disco has whetted the tastebuds of the likes of Majestic Casual and i-D mag who said the duo's "super sexy, infectious house music is filled with the vibe of summertime." Their smash single, 'You Make Me Feel Good' has accumulated close to three million plays on Soundcloud (soundcloudsatinjackets/you-make-me-feel-good) and Youtube concurrently.

"The idea came from our character, Mr. Satin Jackets, who's been travelling the world quite a bit the past two years," explained Tim Bernhardt, the founder of the duo. "Four continents, about twenty countries in, he's on the West Coast and takes a break. He watches the ocean to put his mind at ease and out pours Panorama Pacifico."

This idyllic perspective is launched by the vocals of Scavenger Hunt, the Los Angeles-based electro-pop 4-piece, charted by Billboard and featured by the likes of Nylon mag. They explain about their contribution, "Feel Good' feels like jumping into a cool pool on a hot summer day- refreshing, exhilarating and sexy." Nigerian born and Birmingham based UoB's Got Talent winner, IsaacO contributes to 'Keep Moving On'. He explains it's, "a song about having a nonchalant attitude towards life regardless of what it throws at you. Best listened to on a nighttime drive on the highway."

The album also takes a peek into the past successes of Satin Jackets, with last year's smash single, 'Shine On You' featuring UK born and Berlin based talent Esser, dubbed by Clash magazine as "an exploratory glimpse into the mind-expanding side of Satin Jackets' electronics," and recent single 'We Can Talk' featuring vocals from Emma Brammer.

Further new collaborations include Ghent-based collective I will, I swear, Melbourne's Kids At Midnight and diamond in the rough of Belgian pop Marble Sounds. Fellow Eskimo artist and Greek producer NTEIBINT and KLP from Australia also feature. Each plots a similar narrative about the struggles of love. "'Say You' is about being afraid of being happy,' explains Jane Elizabeth Hanley AKA Kids At Midnight; 'Coast To Coast' is "a sweet love song that could also work on the dancefloor," says George Bakalakos AKA NTEIBINT; and Emma Brammer explores the concept of, "the exciting and painful first love - maybe it's not so good for you but it feels historical."

Pieter Van Dessel of Marble Sounds digs further on 'Find Out'. "The lyrics 'Shut your eyes, and you'll find out' started as a reference to childhood memories: as kids we often had to close eyes when somebody wanted to surprise us with a gift. But it can also mean that you could learn more about reality when you disconnect and close your eyes, instead of gathering (too) much information."

Three quarters of the tracks are fresh and introduce exciting guest vocalists and producers. These are complemented by the much-loved staples from the duo, 'Girl, Forever' and 'You Make Me Feel Good'. Tim of Satin Jackets explains, "We're ending the journey of this album with 'You Make Me Feel Good',

German music producer, Tim Bernhardt and lead performer Den Ishu are Satin Jackets. Their eponymous live show has relentlessly toured the US, Canada, Mexico and Europe, opening their fluid pop appeal and accessible four-to-the-floor groove up to the world at large. Their debut album, 'Panorama Pacifico' is set for release on 8th April on their home label, Eskimo Recordings. The Belgian imprint has been a purveyor of disco, house and everything in between for over fifteen years.

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

Tahiti 80, the cult French group, is back with a tenth album entitled Hello Hello.

Since their formation in Rouen in the 90s, Tahiti 80 have built a substantial discography, collaborating with artists such as Cornelius, Tore Johansson, Adam Schlesinger and Richard Swift. The indie pop quintet offers us today twelve irresistible and captivating songs on a solar tenth album. With its welcoming title, Hello Hello presents itself as a desire to merge the spontaneity of live performances with the chemistry of a band working in the studio. Xavier Boyer, lead singer and songwriter, explains: “We felt a slight frustration with our previous album, Here With You, released in 2022. The pandemic had forced us to record separately at home. When we realized our new demos were going in this live direction, we looked for the perfect place to capture that spirit."

It is at the Paraphernalia studio, located in the French countryside, that the members of Tahiti 80, including in addition to the singer, Pedro Resende, Médéric Gontier, Raphaël Léger and Hadrien Grange, perfected their musical interactions for ten days during the summer 2023. Integrated very early in the process, Stéphane Laporte, aka Domotic, brought his distinctive experimental touch to the arrangements and production. The vocals and additional synthesizers were then finalized between Paris, Rouen and Montpellier in the fall

The twelve songs that make up Hello Hello form a homogeneous suite, highlighting the creativity, diversity and maturity of a group which has just celebrated twenty-five years of career. Opening the album, “Every Little Thing” subtly mixes shoegaze guitars and synth pop. It’s also one of the rare Tahiti 80 tracks that keeps the same chords from start to finish. The singer confides: “It was an exercise in minimalism, with the constraint of finding varied vocal melodies revolving around the same chords. Singing the line ‘I Love Every Little Thing About Us’ made me realize that it could also be about us as a group.” The title song also plays the simplicity card with Boyer’s unique timbre, complemented by a drum machine passed through a tape echo and a catchy recorder theme – proof that years of practice of this instrument in French schools was not in vain!

The other distinctive trend is Brazilian: “Lose My Head”, “Soft Echo” or “Poison Flower” each display tropicalist attributes: swaying rhythms, rounded bass, soft guitars, all enhanced by a reverberated sound treatment. “From Caetano Veloso to Tim Bernardes, there is a unique way,” notes the vocalist, “of linking rhythm and melody that has always inspired us.”

However, the Tahiti 80 touch is not being put aside. “About Us”, sung by guitarist Médéric Gontier who can also be heard on “1+1” and “Anyway”, marks a return to the roots of indie pop. An impression confirmed by the hit “Vertigo” and its signature all in major sevenths supported by the elastic groove of bassist Pedro Resende. The song which sounds like a quick return trip between late 70s California and Tokyo City Pop, will find its place after “Crush!” and “Heartbeat” in the Rouennais’ songbook. Xavier Boyer concludes: “ if we manage to surprise ourselves, it will also work for the listener. but when you reach the tenth album, you must also manage to renew ourselves without denying ourselves what we did previously.”

With their innovative and unique approach to indie pop, their timeless melodies and their sophisticated productions, Tahiti 80 has never ceased to resonate with fans around the world. Their latest collection, Hello Hello, should easily consolidate their status as a singular group and esteemed personalities on the international music scene.

"Mountain Music is Nina Nesbitt as fans have never heard her before. Having risen to fame at a young age with her disarming, candid pop – the Scottish musician is now found in an entirely new realm. It is inspired in part by the two years she spent touring the States in support of her second studio album: the critically acclaimed Top 40, The Sun Will Come Up, The Seasons Will Change, which has now accrued over a billion streams. These songs are permeated with gorgeous nods to US folk and Americana. It’s made all the more extraordinary by the face that, not long ago, Nesbitt was considering quitting music altogether. Produced by Peter Miles and Nesbitt, mixed and mastered by Miles at his stunning studio MiddleFarm in south Devon, and released via her own label, Apple Tree Records. A playful nod to her 2012 debut EP, TheApple Tree, this marks the start of an exciting new era for Nina Nesbitt. While it might sound strange that Nesbitt was drawn to the music of Appalachia, heard echoing through the vast, verdant mountain ranges of the eastern United States, it makes more sense when you consider how traditional Scottish ballads and hymns are threads in that rich tapestry.

Empathy is one of Nesbitt’s greatest strengths. We hear it on “Painkiller”, a Joni Mitchell-indebted ballad on which her heart breaks for the men who believe they have to suppress their own feelings. One of the album’s standout qualities is, perhaps, the dynamic that Nesbitt creates from one song to the next. Where many folk artists might lean into quiet introspection, she craves the full spectrum of emotion – so ensconced around “Painkiller” you have the tender “On the Run’, with its distant shivers of percussion and crystalline piano, but also “Anger”. She’s in a nostalgic mood on the rousing “Coming Home”, a Springsteen-inspired, driving-with-the-top-down journey back to the places and people she loves. We all lose ourselves sometimes. The trick is learning how to find our way back, pushing those clouds away to see the blue skies beyond. For artist Nina Nesbitt, hard-hitting truths and revelations take precedent on her remarkable, career-best album, Mountain Music. Nesbitt knows exactly who she is, and now, she’s ready to tell the world."

Cool Calm Pete has been featured in the past with MF Doom, RJD2, El-P, Morcheeba, Sharon Jones & The Dap-Kings, Aesop Rock, and others. More recently with Kool Keith, Real Bad Man, Heems, and Lee Scott.
Lost (Director’s Cut) kicks off Petes return with some new projects on deck.
Sometimes it takes time for something to establish its proper place in culture, and the modern-day discourse never fails to rush to label an album to be a classic or a flop. Then there are albums like Cool Calm Pete’s “LOST.” Adored by its dedicated fan base upon its original release in 2005 on Embedded Records and Definitive Jux, this record has continued to garner attention over the years from those who are familiar with it. While word-of-mouth alone may not have been sufficient to propel the album to mainstream success, its enduring popularity two decades later is a testament to its well-deserved recognition as an indie rap cult classic. The Korean-American emcee born as Pete Chung wasn’t asking to be a pioneer but having been raised in Queens NY during the golden era of hip hop, rhyming better than his peers just naturally became his identity. Throughout his debut album, his slow-paced, conversational flow fit like a glove to the self-produced “working class” beats that color most of the album. His education in fine arts as a painter and his day-job with a then-burgeoning lifestyle brand called Supreme sometimes took precedence in his professional life, but his dedication to the craft as a hip hop artist was evident, and fans took notice. The album hasn’t been re-released since its initial 2005 drop. and vinyl copies haven’t sold on the collectors’ market for less than $100 in years. With its first official re-release, the laws of supply-and-demand will surely alter that market, and chances are that with more ears to hear the album, those original pressings will only become hotter. In the meantime, the new “LOST (Director’s Cut)” has been re-mastered and extended for release on Cool Calm Pete’s own label Bubble Wife Records, with never-before-heard cuts led by a remix of the title track by Blockhead. Find it.

Der aus Pittsburgh stammende Montell Fish ist ein Multiinstrumentalist, Produzent, Sänger und Komponist, der sich auf die Entwicklung von Projekten konzentriert, die Welten schaffen. Montells unvoreingenommene Herangehensweise an das Songwriting erlaubt es den Zuhörern, sich in seiner Welt willkommen
zu fühlen, in der er der Autor, Regisseur und Star ist. Charlotte ist das mit Spannung erwartete Nachfolgealbum des JAIME-Albums von 2022 und der zweite Teil seiner Jaime, Charlotte, Marshall-Album-Trilogie.
Mit jeder Veröffentlichung hat er einen mehrschichtigen Turm aus Referenzen und Metaphern aufgebaut,
der mit den Ängsten eines begabten jungen Menschen schwankt, der die Widersprüche der Welt in Einklang
bringen will: in der Liebe, in der Religion, in der Kunst und im Glauben. Es ist die Art von Musik, die
intensive Gefühle und Fangemeinde hervorruft. Auf seinem neuesten Album Charlotte, dem Nachfolger
seines Durchbruchsalbums Jamie aus dem Jahr 2022, denkt Fish gerne über die großen Fragen des Lebens
nach: Wie prägt die Kindheit einen Menschen? Was bedeutet es, eine Gabe zu haben, zu der die Welt
Zugang haben will? Fish, der in einem streng religiösen Haushalt aufgewachsen ist und nun selbst in der
Welt unterwegs ist, um seine Kunst zu machen, hat eine grenzenlose Neugier auf die Art zu leben und zu
schaffen. Charlotte ist sein bisher vollendetstes Projekt, der Klang eines Generationstalents, das in seine
Kraft tritt.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

“Big City Blues” is the title of the new – fifth – album by the Antwerp band Handkerchief , which will be released on September 27. As the title suggests, the big city now plays a more central role in the band's world. This results in a harder rocking sound, more guitars, but
still the bluesy feeling with a steamy horn section and the rough voice of Christof Annaert, which also sounds like he has single-handedly cleared every dark alley in the big city of every possible scum.

Their latest albums “Mutiny Ballads & Fishguarding Songs” and “Ghosts of this Town” were particularly well received by the press and fans. Singles such as “They Drive by Night”, “Human Sense” and “Lucky Day” were regularly heard on national radio: including Willy,
Radio 1… and the band played dozens of shows in Belgium and the Netherlands. This fall the band will go on tour to present the new album.

With "The Mirrored Mask", Dutch band Harlem Lake announces their highly anticipated second album, set to be released on September 27th under Jazzhaus Records Following their critically acclaimed debut album "A Fool's Paradise, Vol. 1" from 2021, the band from Haarlem, near Amsterdam, once again presents an eclectic mix of blues, rock, and Americana. However, Harlem Lake refuses to be pigeonholed, using these genres definitions merely as loose creative inspiration, resulting in a fresh and timeless sound. "The Mirrored Mask" is an energetic work, opening with two outstanding singles: "Carry On" and "Fooled Again." While "Carry On" impresses with powerful vocals by frontwoman Janne Timmer and sophisticated brass arrangements, "Fooled Again" showcases a funkier side of the band, with guitarist Sonny van den Berg displaying his distinct skills. The album features a wide range of styles and moods, from danceable tracks like "Beggars Can't Choose" to moving ballads like "The Thought Of You." The latter is characterized by its gentle instrumentation and melancholic lyrics, reminiscent of folk- Americana greats like Kacey Musgraves or Katie Pruitt. With tracks like "Crying In A Desert," Harlem Lake then also surprises listeners with a uniquely atmospheric road song a la J.J. Cale, complete with an impressive guitar solo. The highlight of the album is undoubtedly the title track "The Mirrored Mask," which showcases the full range of Harlem Lake's musical abilities. Concluding the album, the band presents two more highlights, "Temptation" and "Jack In The Box," skillfully rounding out the album with blues, jazz, and Americana flair. Harlem Lake, consisting of Janne Timmer (lead vocals), Dave Warmerdam (keyboard), Sonny van den Berg (guitar), Kjelt Ostendorf (bass), and Benjamin Torbijn (drums), created "The Mirrored Mask" as an album that impressively demonstrates their musical maturity and passion for songwriting. From powerful rock numbers to intimate ballads, the album offers a multifaceted listening experience that will captivate both fans and newcomers alike. Known for their dynamic live performances as winners of the European Blues Challenge 2022, the band will be presenting the songs from "The Mirrored Mask" on an extensive tour through Europe.

A legendary yet long lost crown jewel from the late 70s Japanese progressive rock scene soon will be again in stock. This time with original insert and original Japanese OBI art.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

Der renommierte und preisgekrönte elektronische Musiker Ben Böhmer, ist zurück mit seinem neuen Studioalbum „Bloom“. Nach einer rekordverdächtigen Welttournee im Jahr 2023, bei der alle Termine seines letzten Albums bereits Monate im Voraus ausverkauft waren, nahm sich Ben Böhmer Zeit für sich selbst und kehrte an den Ort zurück, der ihn am meisten anzieht: sein Studio. Dort kann er seine Leidenschaft für spontane Kreativität voll ausleben und sich unermüdlich darauf konzentrieren, sein Handwerk zu verfeinern, das es ihm erlaubt, tiefe, komplexe Gefühle auszudrücken.
Der Erfolg dieser Alben mit fast einer Milliarde Streams und mehr, und seine Fähigkeit, das Publikum live zu erreichen - er spielte über 200 Shows im Jahr 2022 -, trieben ihn auf einen Weg, der sich nicht mit dem deckte, was er wollte. Trotz der Auszeichnungen und ausverkauften Veranstaltungen wurde er in eine Richtung gezogen, die nicht zu ihm passte. „Bloom“ ist ein Neustart, ein selbstbewusstes Bekenntnis zu seinen eigenen Wünschen und improvisierten Ursprüngen. Auf „Bloom“ hören und fühlen wir Ben Böhmers Entwicklung, sein freudiges Streben nach Neuem, das ihn Tag für Tag immer wieder ins Studio zurückzieht. Klanglich ist „Best Life“ ein mutiger Schritt in eine neue Richtung für Ben Böhmer, der aus den vorgefertigten Schubladen, in die er gesteckt wurde, herauswachsen will. Sein Songwriting- und Kompositionstalent tritt auf „Bloom“ in den Vordergrund, zusammen mit angesehenen Künstler:innen wie der Indie-Legende Lykke Li, dem Alt-Pop-Duo Oh Wonder, Enfant Sauvage (vom französischen Duo The Blaze) und anderen. Das Album enthält eine Vielzahl von Stilen und Tempi, die nur noch entfernt an frühere Tracks seiner Karriere erinnern.

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Limited Grey Marble Vinyl. Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings and mastered by Will Yip, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Mutant, in partnership with Hollywood Records and 20th Century Studios are proud to present the premiere physical release of John Paesano's score to Kingdom of the Planet of the Apes.



Paying homage to Jerry Goldsmith's iconic original Planet of the Apes score, while embarking on a wholly original sonic journey into this unexplored era of the series chronology. Paesano has crafted an incredible musical odyssey, full of wonder and powerful emotional passages.



Paesano has been quietly producing some of the best genre scores of the last decade. His music for the Daredevil TV series, Marvel's Spider-Man video games and The Maze Runner trilogy if films have all led to this in some way. With Kingdom of the Planet of the Apes, he has crafted a beautiful and sweeping score for a massive dystopian world inhabited with nuanced and delicate characters. And he does so while respecting the source material and the legacy of the franchises that loom large. It's a tightrope that Paesano deftly walks with well-earned confidence.

Seit der Veröffentlichung ihrer 2020 erschienenen Single "Cleansed Existence" werden die Industrial-Metalcore-Hellraisers HERIOT aus Bristol von Künstlern, Journalisten und Fans gleichermaßen als die nächste Hoffnung für extreme Musik gehandelt. "Devoured by the Mouth of Hell" verdoppelt nicht nur die erdrückende Klaustrophobie von HERIOTs früherem Material - es enthält auch Ideen, die sie zuvor nicht angerührt haben. Die Opener "Foul Void" und "Harm Sequence" beweisen das mit einem schwindelerregenden Doppelschlag, wobei der erste Song ein Kraftwerk des Grooves mit melodischen Anklängen ist, während der zweite ein Metalcore-Amoklauf mit Vollgas ist. In anderen Stücken wie "Opaline" und "Visage" werden die Ambient-Töne, die HERIOT zuvor nur angedeutet hatten, zu kompletten Songs verarbeitet. Die Band klingt immer noch so roh und direkt wie eh und je, doch es gibt eine Verfeinerung, die nur von ihrem schieren Drang kommen kann, etwas zu erschaffen, das dem ganzen Hype um sie herum würdig ist. Die internationale Aufmerksamkeit inspirierte HERIOT dazu, sich so intensiv wie möglich auf ihre Instrumente und ihr Handwerk zu konzentrieren, und "Devoured by the Mouth of Hell" wurde in monatelanger Schreib- und Aufnahmearbeit akribisch verfeinert. Allein das Komponieren und das Aufnehmen der Demo-Versionen nahmen fast ein Jahr in Anspruch - als die Band dann Anfang 2024 ins Studio ging, holte sie sich Hilfe vom Who's Who des modernen Metals: Sylosis-Leader und Ex-Architects-Gitarrist Josh Middleton produzierte, während Justin Hill von den Prog-Metal-Koryphäen Sikth das Schlagzeug bearbeitete und Grammy-Preisträger Will Putney (der bei den Metal/Hardcore-Schwergewichten End, Fit For An Autopsy und Better Lovers spielt) das Album abmischte. HERIOT haben ein dichtes, beklemmendes und doch abwechslungsreiches Meisterwerk geschaffen. Ihr Momentum wird sich fortsetzen, wenn die Metal-Massen ihre neuen Ideen gehört haben, und es wird nicht mehr lange dauern, bis die Band von den hellsten "Rising Stars" des Metals zu ganz normalen 'Stars' aufsteigt. "Devoured by the Mouth of Hell" ist erhältlich als: Standard CD Jewelcase, 180g LP und Digitales Album.

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.