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'Can Live in Keele 1977' ist die neueste Veröffentlichung in einer Reihe von Live-Alben, die aus den Tresoren von Spoon Records und aus Fanaufnahmen ausgegraben und dann von Gründungsmitglied Irmin Schmidt und Produzent/Ingenieur René Tinner sorgfältig zusammengestellt wurden.

Live in Keele 1977 ist ein dynamisches Dokument der Spätzeit von Can. Die im März 1977 aufgenommene Kernbesetzung bestehend aus Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay wird durch Rosko Gee (Traffic) am Bass ergänzt. Gees kürzliche Ergänzung des Line-Ups bedeutete, dass Holger Czukay von seinen Bassaufgaben entbunden wurde, um „Waveform Radio und Spec“ zu spielen. Sounds“, die sich hier als jenseitige Klänge, Samples und das manifestieren, was ein Rezensent einer späteren Show als „Mondgespräch mit einem weißen Kontinentaltelefon“ beschrieb.
Das neue Album ist die letzte Veröffentlichung in der aktuellen Reihe von Live-Dokumenten, die 1975 mit „Can Live in Stuttgart“ starteten (Uncuts Reissues of the Year, Platz 2 in MOJOs Reissues of the Year, Platz 7 in The Wire's Archive Reissues of the Year und mehr). ), gefolgt von „Can Live in Cuxhaven 1976“ (das erneut eine große Rolle in den Neuauflagen des Jahres spielte); „Can Live in Brighton 1975“ („Pure Dynamit… Keep They Coming“ – MOJO); „Can Live in Paris 1973“, das erste der Reihe mit dem verstorbenen Damo Suzuki („eine lebhafte Hommage an eine der besten Improvisationsgruppen des Rock“ – Financial Times), und „Can live in Aston 1977“ (The Quietus's Reissue of the Week – „ Es ist zweifellos Musik zur Erweiterung des Geistes, aber sie dehnt das Gehirn auf eine Weise, die einzigartig bleibt – „Can waren schon immer Anbieter von Inner-Space-Rock, und jede Reise ins Unbekannte war so anders wie ihre Shows“).

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

Der Londoner Keyboarder und Komponist Greg Foat legt eine wunderbar facettenreiche Karriere innerhalb des Jazzgenres hin und präsentiert mit "The Rituals Of Infinity" sein neuestes Werk, das er beim Worthy Earth Festival Ende September 2024 in Hampshire erstmals live aufführte. Die Titel sind inspiriert und benannt nach legendären Science-Fiction-Romanen und altgriechischer Mythologie. An dem Album wirkten prominente Jazzmusiker wie Art Themen (sax), Trevor Walker (brass), Natcyet WAkili (drums) und Jasper Osbourne (bass) mit.

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

Hitting their tenth release, Heels & Souls Recordings journey to South Africa reissuing Hot Slot Machine’s pioneering and sought after self-titled album from 1992. Cultivating a sound and vibe that took South Africa by storm in the early '90s, the six track LP took influence from the genres that drifted over the Atlantic from the US and UK. From house and R&B, through to soul, hip-hop and reggae - creating a rhythm-driven, bass-heavy blend of them all, repackaged with a township flavour.

Known to many as Joe Nina, Makhosini Henry Xaba’s early forays into production would help lay the foundation for the infectious, groove-laden genre that would go on to be labelled as kwaito. With two albums already under his belt as T. McCool and King Rap, aged just 16 Makhosini wrote and produced Hot Slot Machine with the help of Gerdes Chessman - an LP that was far beyond both its time and his youthful years.

Striving to imitate the heavy house sounds inbound from the UK and America, artists like Blackbox and Ten City became big influences. Hot Slot Machine radiates with those impressions, providing something unique in South Africa in the early ‘90s. Leaning more into house and hip hop than the disco-flavoured bubblegum rhythms, the tracks were richer in sound, heavier on the synths and powered by rattling basslines.

Undeniably infectious and unquestionably well put together, the album contains six hits and no misses. With the chunky hip house grooves of ‘Rhythm’, ‘Unchain My Heart’ and ‘Shake Ya Down’, running side by side with the low slung, magnetic bounce of ‘Lookin’ Mix’, ‘I’ll Be Ready’ and ‘Lovin’ Mix’.

Sadly the tapes were long lost, so the wizards Sean P and Justin Drake ripped and restored the album, with Justin giving it a well-deserved remaster. Licensed from Gallo with the blessing of Makhosini, this truly must-have LP now comes complete with a printed inner sleeve housing liner notes and never-before-seen photography.

Original copies changing hands for £50+ on Discogs. Remastered and reissued for the first time since 1992!

We are pleased to announce the launch of a new series at Innervisions called “Quantum Spits”.

House music has been around for decades, and throughout its evolution, it has spawned numerous sub-genres. “Quantum Spits” aims to explore and celebrate this diversity by dedicating each release to a particular aspect of this thing we call House.
Our goal is to provide a platform for both established and up-and-coming producers to express their unique take on house music while also paying homage to the roots of the genre.

We are kicking off the series with Skatman, the Tunisian-born producer, DJ and label head. On „Rewarped“ he slams old school hip-hop samples into some raw and pumping house tracks, providing a fresh and up to date connection between these distinct musical eras to deliver six new cuts of raw concise electronic music.

“Taking familiar elements and giving them a fresh twist,” says Skatman aka Aziz Haddad.

2024 repress of the Innervisions classic by Frankey & Sandrino! Housed in an IV-backcatalogue sleeve.

The evocative home listening journey presented in Âme's debut album "Dream House" has now been transformed into a range of indispensable dance floor remixes, reminiscent of the dance weapons crafted by Âme over the last decade.

Nach 6 jähriger Pause ist die Rockband Heisskalt wieder zurück. Dass die Fans das sehnsüchtig erwartet haben, merkt man nicht nur an den
Streamingzahlen, die in 6 Jahren Inaktivität beständig hoch waren, sondern auch an der kürzlichen Ankündigung der ersten Tour, die innerhalb
kürzester Zeit zu großen Teilen ausverkauft war und hochverlegt wurde.
Die Single "Wasser, Luft und Licht", mit der Heisskalt ihr kommendes Album "Vom Tun und Lassen" ankündigen, lässt keine Fragen offen und lädt mit
großem Ohrwurm-Potenzial direkt zum Tanzen ein. Doch wie es typisch ist für die Band, die zu den einflussreichten der letzten 10 Jahre im Deutschen
Band-Markt gehört, steckt dahinter auch eine tiefere Message:
"Es geht um einen Prozess des sich Gewahr werdens, dass alles irgendwie doch eins ist, auch wenn es für uns einfacher scheint, zu trennen und
voneinander zu unterscheiden. Wir atmen alle die selbe Atmosphäre, trinken das selbe Wasser, wärmen uns am selben Licht. Wenn wir uns als Teil
dessen erkennen, dann ist das ganz schön friedlich. Und es braucht Frieden."

Turning their gaze to the buoyant culture of wyrd, modernist German folk music, Quindi welcome a spectacularly idiosyncratic offering from Johannes Schebler, aka Baldruin. Bewildering narrative twists, high drama and intricate delicacy make Mosaike der Imagination an engrossing listen from the outset, as baroque atmospheres and tumbledown drums intertwine with tactile string plucks and needlepoint synthesis in an authoritative bridging of ancient and hypermodern sonic sensibilities.
Schebler's catalogue as Baldruin is extensive, reaching back to the late 00s and covering a lot of ground through cassette albums on respected underground labels like SicSic, A Giant Fern and Lullabies For Insomniacs. Meanwhile, his work has been recognised as part of a broader movement of experimental electronic music in Germany taking inspiration from folk traditions, as documented on last year's essential Bureau B compilation, Gespensterland. Beyond his solo work, Schebler also works with Jani Hirvonen as Grykë Pyje (mappa), and both collaborate with Paul Wilson as Yayoba (Not Not Fun). Christian Schoppik of leading dark folk project Brannten Schnüre joins him as Freundliche Kreisel (STROOM). It's a tangled, fascinating and evocative sound world which Mosaike der Imagination offers a compelling window into.
No two tracks on the album follow the same pattern or palette, whether gliding through the Giallo synth undulations and post rock tonal arcs of 'Stimme des Wegelagerers' or spelling out miasmic incantations through flickering flames on 'Aus dem Feuer, aus dem Licht'. 'Hinein, hinaus, hinüber' revolves around meditative drum mantras and cascading melodic phrasing, densely layered and evolving with purpose. 'Gemeinsam hindurch' flicks between swooping strings and pizzicato plucks in a purely romantic expression of orchestration, 'Mit verbundenen Augen' is a bewildering choral voice study and 'Im Sternstrom' revels in ecstatic synth arpeggios. Nothing can be predicted except the vibrancy and clarity of Schebler's vision.
It's a vision which extends to the front cover artwork for Mosaike der Imagination — a glorious tapestry created by Finnish artist Jan Anderzén, with a responding design and layout from Schebler adorning the rear sleeve.
Stepping to the side of the cosy daydream reveries that inhabit much of the Quindi output, Mosaike der Imagination indulges the label's penchant for sophistication in a freakily fascinating new framework from the heart of an exciting movement in experimental folk music.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Ringo Starr achieved international fame as the drummer for THE BEATLES. Stop and Smell the Roses is a studio album originally released in 1981 which includes contributions from Paul McCartney, Ronnie Wood and Stephen Stills. The six bonus tracks have never before been released on vinyl. This double LP set, has deluxe packaging that will include an OBI side strip, gatefold album jacket with two pockets, printed inner sleeves, original record labels and specialty color vinyl. This is a MUST for all fans/collectors of THE BEATLES.

Ludwig Hart, who over two albums has established himself as our foremost innovator of classic American road rock aesthetics, has throughout 2024 released songs with a sound that is even bigger than on the artist's breakthrough album, 2021's "Paloma". The song "Less I Try" has been in constant radio rotation in Sweden, Germany and the UK, and Hart has had time to appear on national TV, embark on a major tour with two successful gigs at The Great Escape in Brighton and spend a summer playing the biggest Swedish festival stages. On his third album "Stay Young" - released on September 27 via Argle Bargle Studios - Hart showcases an increasing freedom to genre and style. From reflective, stripped-down tracks like "Ghost of You" and the title track, we're taken through the reverb-drenched garage boogie of "Run Run" to the big chorus wind-in-the-hair rock of single favorites like "Less I Try" and "Journey." On previous albums, Hart has been praised for his lyrics - personal stories about people around him growing up and their life situations. On ”Stay Young” - on the contrary - he turns inward and faces his own fears and demons. "It's been scary but necessary. The album is about my fears of getting older, fears of ending up like my dad. It's about how much I've tried to suppress things I've been through, and how they've probably shaped me into who I am. I live with ghosts that never seem to want to let go, I have my own devil on my shoulder that constantly makes itself known. I am periodically terrified of ending up in total fucking darkness. This record has helped me try to understand why."

How could this album, one of the biggest crossover country smashes of the ‘90s and a complete artistic triumph, remain a vinyl wallflower at this late date?! Well, we at Real Gone Music are pleased and proud to take this classic Mary Chapin Carpenter release to the dance with a special 2-LP expanded highlighter yellow vinyl edition that includes an entire bonus side featuring a live performance from 1994, the same year Stones in the Road was released! The accolades and accomplishments of this record are almost too numerous to list here: #1 on the Country charts, Top 10 on the Billboard 200 Pop charts, a number 1 Country hit with “Shut Up and Kiss Me,” other charting singles like “Tender When I Want to Be,” “House of Cards,” and “Why Walk When You Can Fly?”, and Grammies for Best Country Album and Best Female Country Vocal Performance. But hits and awards aside, what makes this album so special is that every song packs its own unique emotional punch, starting with the title tune that was first covered by Joan Baez; you could also point to the transcendent “John Doe No. 24” and the brilliant “End of My Pirate Days” as firsts among equals on this amazingly consistent and rewarding album (which Country Universe called the best Contemporary Country album of all time!).

Some credit must be given to the band that producer John Jennings assembled, including drummer Kenny Aronoff, keyboardist Benmont Tench, guitarists Lee Roy Parnell and Steuart Smith, and backing vocalists Trisha Yearwood, Shawn Colvin, and Linda Williams. But, as always with a Mary Chapin Carpenter album, it’s the songwriting that’s the real star: witty, wistful, personal, and REAL. With gorgeous hooks to boot! Side D includes the four tracks that came out on the Live at “Her Majesty’s Theatre” EP recorded in London, featuring a version of “Shut Up and Kiss Me,” and it all comes with two printed inner sleeves boasting lyrics. Released on its 30th anniversary with the full consent and support of the artist herself!

Die schwedische Musikerin Thea Gustafsson, die unter dem Künstlernamen Becky and the Birds bekannt ist, veröffentlicht am 15. November ihr selbst produziertes Debütalbum "Only Music Makes Me Cry Now" via 4AD. Zur Feier der Albumankündigung, präsentiert Becky and the Birds ihre neue Single "I made my baby cry". Der Song, ein emotional aufgeladenes Stück über Herzschmerz und Trennung, wird von einem Visualizer untermalt, den Gustafsson selbst kreiert hat. Die Visualisierung wurde von Gustafsson kreiert und stellt ihre Kreativität und eindrucksvolles Können im Studio unter Beweis. Über den Song sagt sie: "Ich habe den Song nach einer Trennung geschrieben. Für mich sind Trennungen das Schlimmste; mitzubekommen wie die andere Person innerlich stirbt und zu wissen, dass man es selbst ausgelöst hat." Mit "Only Music Makes Me Cry Now" kehrt Gustafsson zu ihren Wurzeln zurück und greift die experimentelle Herangehensweise wieder auf, die sie an den Tag legte, als sie mit dem Produzieren begann. Sie nutzte für ihr Debüt die Fähigkeiten, die sie seither erlernt hat, um neue Klanglandschaften zu erschaffen und Grenzen zu testen. Ihr unverwechselbarer innovativer Stil und ihre Emotionalität kommen in ihrem neuen Album zur Geltung.

The debut album on RCA, from 'Everyone You Know', is a document of a big night out; from the anticipation that drags you through the working week up to the euphoria found under nightclub lights and straight through until the bittersweet comedown the morning after. It's a heart on sleeve collection of boundary-pushing songs that burst with emotion, establishing siblings Rhys and Harvey as songwriters with a unique ability to distil the chaos and adventure of a Saturday night into a body of work built to last the test of time. With references that range from Moby to Kendrick Lamar's classic Good Kid Maad City via the '90s cult movie 'Human Traffic', 'Ain't Smiled In Ages' is an uncompromising vision of inner-city hedonism and the beating hearts of those living for the weekend. Clear LP Vinyl & x11 trk standard CD. Marketing.

Stu Marshall will mit seiner Band EMPIRES OF EDEN die Konventionen des Metal auf den Kopf stellen! Einige der beeindruckendsten Musiker des Metal-Genres haben sich auf "Guardians Of Time" zusammengetan, um gemeinsam die und die Zukunft des Genres zu prägen.

Dieses Album, das Genres wie Power Metal, AOR und Thrash-Elemente miteinander verbindet, zeugt von einem tiefgreifenden kreativen Input einer breiten Palette von Metal-Talenten.
Es ist ein klares Statement von einigen der angesehensten Namen im Metal. Hier geht es nicht um Nostalgie, sondern um Innovation und die Zukunft des Metal Genres als kreative Kraft.

Just when you thought it was safe to go back in the water, THE ROUTES are back with their unique blend of beat-you-to-death surf music (IGGY POP). Their latest target: the music of JOY DIVISION!

Having previously surfy-fied the songs of KRAFTWERK and BUZZCOCKS, Surfin' Pleasures sees THE ROUTES take on the music of JOY DIVISION. As with their previous tributes, this is not an album of note for note cover versions. THE ROUTES have only taken subtle melodic and rhythmic hints from the original songs; rearranging them into songs of their own, respectfully and lovingly translating the music of JOY DIVSION into a different musical language.

Surfin' Pleasures sees twelve classic JOY DIVISION songs reimagined and rearranged as banging 60s surf guitar instrumentals (a la THE VENTURES, DICK DALE, SHADOWS, TRASHMEN, TERAUCHI TAKESHI, LINK WRAY, THE SURFARIS and THE ASTRONAUTS and more).

Prepare to be taken on a wild musical trip where A Means To An End and Ice Age are transformed into the background music of a 60s drag race movie, Transmission hints at the classic ASTRONAUTS sound, and Digital gets the beach party treatment... You don't have to be a fan of JOY DIVISION to enjoy these tunes, and likewise if you're a JOY DIVISION fan you don't need to be a fan of surf music to enjoy them.

The record cover comes courtesy of British design icons Peter Saville and Malcolm Garrett. It is a reworking of Peter Saville's design for JOY DIVISION's Unknown Pleasures. Reminiscent of the op art of Bridget Riley, the lines are no longer that of a pulsar, but that of the sound wave of a reverb tank. Its cover design is provided with calender embossing as well as a printed inner sleeve, just like the hit-album Unknown Pleasures.

Blasphemy or alchemy? You decide!

One thing is for sure is that THE ROUTES have provided the world with yet another future cult classic, destined to irk or jerk for eons to come.

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.