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Off the back of ""electrifying"" (Rolling Stone) performances across Australia's premier festivals throughout summer, proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman & multi-award-winning Naarm/Melbourne-via-lutriwita/Tasmania artist MISS KANINNA is thrilled to announce her internationally-anticipated debut EP KANINNA, out 20 September via Soul Has No Tempo.

Spanning hip-hop, rap, R&B and pop with touches of Amapiano, Afrobeats and Middle Eastern influences, the EP features her latest single 'Push Up', plus ""the left-right goodnight"" (triple j) combo of her debut 2023 singles 'Blak Britney' & 'Pinnacle Bitch' which spurred her meteoric rise with far-ranging support from Apple Radio 1, BBC Radio 6, KEXP, KCRW and triple j, who crowned her with the J Award for Unearthed Artist of the Year 2023.

This album is about memories. About a feeling of nostalgia and longing, both beautifully comforting and devastating. It is an attempt to transform an unspoken sensation of the past to a solid object serving the future, an urge to remember and hold onto moments that we can't keep forever. On the 6th of October 2023, the release date of her third solo album ‘Ghosts’, Hania performed a very special album release concert with a string ensemble in a uniquely special location - Witold Lutosławski's Concert Studio at the Polish Radio in Warsaw. Over the years, the spaces of Polish Radio have become an important part of Hania’s life - both privately and professionally.

Visiting for the first time as a student of Chopin University of Music and returning to make her first recordings in late 2018, just before the release of the debut album ‘Esja’. It was also in these studios that Hania recorded her Live from Studio 2 video and EP. But whereas that featured a much-loved solo performance, for this very special recording from the larger Studio 1, Hania is joined by her regular collaborator Ziemowit Klimek on double bass and moog as well as a luxurious eight-piece string ensemble featuring Karolina Gutowska violin Jan Pietkiewicz violin Marta Piórkowska violin, Paweł Czarny viola, Tomasz Rosiński viola, Dobrawa Czocher cello, Marianna Sikorska cello, Mateusz Błaszczak cello.
Beautifully mixed by Greg Freeman in Berlin the music takes on a new life as Hania’s ethereal vocals, beautiful playing and exhilarating compositions are brought fully to life by the beautiful sweeping strings of the expanded ensemble. The concert is included here in its entirety with the addition of one beautiful extra performance – the title track ‘Nostalgia’ a beautiful interpretation of a much-loved piece from the Ghosts album taken from her concert at the Roundhouse in London. In addition the LP features a beautiful 16 page booklet of photographs of the Polish radio studios taken by Hania herself and featuring her thoughts on the recording, studios and the compositions themselves and the CD includes the photos in a beautiful glued in 12 page booklet.

On March 24, 2023 Rob Mazurek assembled his endlessly psychedelic and explorative large ensemble Exploding Star Orchestra under the dome of Chicago’s Adler Planetarium to perform material from their recently released album Lightning Dreamers along with a number of new pieces.

A digital projection flashed an ever-changing stream of vividly colored, abstract shapes derived from Mazurek’s paintings and animations over the audience’s heads, while the Orchestra, which on this night numbered eight musicians besides its leader, transformed the stylistically disparate pieces from Lightning Dreamers into an enveloping maelstrom. Electric pianists Angelica Sanchez and Craig Taborn pushed layers of plush texture back and forth over the intricate, tripartite grooves of bassist Ingebrigt Håker Flaten and two drummers, Chad Taylor and Gerald Cleaver. Mazurek’s trumpets and wordless cries, Tomeka Reid’s cello and Nicole Mitchell’s flute and voice periodically surfaced out of the flow, issuing sharp, energetic statements, while Damon Locks’ proclamations flickered in and out of the mix like an erratic signal from some interstellar radio announcer. Together, they reimagined the brooding sound of Miles Davis’ Bitches Brew as a force for transcendent uplift.

At one point, Mitchell put down her flute, spoke into Mazurek’s ear and pointed up to toward the dome. As he looked up, his own horn came down, and for a moment, the two of them gazed with undisguised awe at the spectacle that the Orchestra had unleashed. In a time when so many forces conspire to bring people down, this concert was an invitation to look up and out past the horizon.

Die britisch-bengalische Musikerin Tara Lily aus Südlondon verbindet auf ihrem Debütalbum "Speak In The Dark" Alternative-R&B, Jazz, Electronica und traditionelle indische Klänge zu einer einzigartigen Fusion. Produziert von Dom Valentino, sind ferner US-Jazz-Trompeter Theo Croker, UK-Rapper Surya Sen und Archy Marshall (aka King Krule), mit dem sie schon die Bühne teilte, beteiligt. Erste EPs erschienen bei Motown UK, der Musikexpress zählte sie zu den hochgehandelten internationalen Newcomer*innen 2023".

- "Spellbinding" - The Guardian

- "Beautiful, melancholic" - Jamie Cullum, BBC Radio 2

- "One to watch!" - Jamz Supernova, BBC 6Music

- "An all-star jazz collaboration." - Clash

- "One to watch for 2024" - Simon Phillips, Jazz FM

- "Soulful and heartfelt" - Jack Saunders, BBC Radio 1

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

The alternative rock of bôa was a natural procession for the kids of Bad Company’s Paul Rodgers. The band, which is fronted by sister/brother duo of Jasmine Rodgers and Steve Rodgers, came together in 1993 with Alex Caird (bass), Paul Turrell (keyboards) and Lee Sullivan (drums). Together their single “Duvet” was a hit for the Japanese animal sci-fi series LAIN. Since then they have on on to achieve critical acclaim in the UK and Japan, winning fans via the internet.

"Auto-Reverse" is a compilation of the greatest hits of Guillaume Fédou, a pioneer of French independent pop since 2003, the year of his first single "Garçon Moderne" released by Village Vert. Presented as a best-of and not an anthology, this project of 12 hand-picked tracks tells the sentimental and offbeat story of a "singer since 1974" who is both vintage and furiously contemporary.

Coming from collaborations with Arnaud Fleurent-Didier, Plaisir de France, Benjamin Diamond, Jérôme Plasseraud or les Soucis (his group composed of Victor le Masne, Pierre Leroux, Philippe Monthaye, Judah Warsky and Mattias Mimoun), these 12 songs are as many chapters of a melodic novel that defies the laws and especially the spirit of the times.

No need to rewind, Auto-Reverse does it for you.

Legendary UK band Asian Dub Foundation is celebrating its 30th Anniversary this year!

Asian Dub Foundation are a genre unto themselves. Their unique combination of jungliest rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots via militant high-speed rap has established them as one of the best live bands in the world. The story began in the early 90’s when ADF formed from a music workshop in East London at the institution which is their spiritual home, Community Music. Their unique beginnings in a music workshop in east London shaped both their sound and their educational aspirations, setting up their own organisation ADF Education (ADFED), plus instigating campaigns on behalf of those suffering miscarriages of justice.

Building a solid live reputation in the mid-90’s, they gained worldwide recognition sharing the stage with Rage Against The Machine, the Beastie Boys, Radiohead and Primal Scream. On record, they've collaborated with Radiohead, Sinead O'Connor, Iggy Pop, Adrian Sherwood, and Chuck D. In addition to their blistering live reputation ADF were one of the first bands to experiment with live film re-scores (“Cineconcerts”), beginning with their rapturously-received re-interpretation of the French classic La Haine back in 2001.

In 30 years, Asian Dub Foundation have racked up 1000’s of unforgettable shows, 9 studio albums alongside a social and educational activism that both created the group and sustains them today. In celebration of the longevity of this unique project they are announcing an extensive European tour for 2024-25 of more than 60 shows and a special album showcasing their many iconic collaborations. “94-Now: Collaborations” will be released on September 27, 2024!










h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) ADF30 Rework)








h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) [ADF30 Rework)

While Chicha Libre's second album, Canibalismo was inspired by the Peruvian Chicha explosion of the 70's, it also looked back to the cultural Cannibalism dear to Os Mutantes and other Brazilian tropicalists, as well as the production values of late 1960’s rock bands.

The group still pays homage to amazonian legends Los Wembler's de Iquitos, Los Mirlos and Manzanita, but mixes it up even more by combining mellotron and vintage synths with West African guitars, treated percussion, fuzztone and some R.D Burman-inspired arrangements. Originally released in 2012, this the first european re-release on vinyl.

"In partnership with Milan Records, Waxwork Records is proud to release KINDS OF KINDNESS (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by multi-instrumentalist, producer, and Oscar®-nominated composer JERSKIN FENDRIX. The album reunites Fendrix with director Yorgos Lanthimos following the breakout success of Poor Things, which earned the first-time composer an Oscar® nomination and marked Lanthimos’ first-ever collaboration with a composer. For Kinds of Kindness, Fendrix has crafted a soundscape rooted in solo piano and choral music, peppering the 22-track collection with hymnals throughout. Rounding out the soundtrack album are pop tracks like Cobrah’s “Brand New Bitch” and Eurythmics’ “Sweet Dreams (Are Made of This),” both of which were featured in the film’s trailers, plus a cover of “How Deep Is Your Love” by film star Margaret Qualley as well as a demo from Fendrix’s personal discography. Searchlight Pictures’ Kinds of Kindness is available in theaters now.

Similar to Poor Things, Fendrix began working on Kinds of Kindness with relatively few materials, utilizing only the film’s script, black and white photographs from set, and conversations with Lanthimos as a guide. This time around, however, Lanthimos provided Fendrix with specific guidance on instrumentation, instructing the composer to craft a soundscape rooted in piano and choral music.

“I love working with Jerskin, and I guess he’s the reason why I am now working with a composer – I’ve found someone that works for me,” says director Yorgos Lanthimos, continuing, “Jerskin worked on this in the same way he worked on Poor Things, which is before even seeing a frame of the film. I gave him the script and started sending him black and white pictures that I shot on set. Our agreement in the beginning was, ‘This time, I want to use piano and choir, and go down that direction,’ which was very different to Poor Things. When I went into the edit, he had this library of music that he created to work with, and it turned out great.”

Also helpful to Fendrix at the start of the project was a conversation with Kinds of Kindness star Jesse Plemons, who helped the composer wrap his mind around the complexity of Lanthimos’ triptych story.

“I was very lucky to go on set at the very beginning of filming, and I asked Jesse about the emotions because I was struggling to understand where so many of these characters were coming from,” composer Jerskin Fendrix confesses. “He spoke to me about his interpretation, and how he planned to embody his characters, which was great. I ended up thinking about the abstract space between the emotions and whether that space was empty or noisy. From there, I utilized the piano and choir to explore those spaces.”

Waxwork Records is thrilled to release KINDS OF KINDNESS as a picture disc featuring artwork and design by Vasilis Marmatakis housed in a crystal clear poly-bag.

ABOUT KINDS OF KINDNESS

KINDS OF KINDNESS is a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing-at-sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader."

The Ruins' eponymous EP (also known as the “gray record”) was originally released in the late spring of 1984 and in fact represents a significant moment in the Italian independent music scene of the early 1980s. The then contemporary burgeoning wave of entertainment music contaminated by experimental accents and conveyed essentially by electronic instruments saw the Ruins at the forefront. The band, essentially a duo, formed in Mestre (Venice) in 1978, had already carved out a window of national attention within the Italian new wave in 1981 with their first single “Short wave” and their participation in one of the very first (if not the very first) Italian new wave compilations entitled “Samples Only.”

Following this, between 1982 and 1983, there had been an important interlude in the evolution of the RUINS sound with the foundation of the quintet project (of which SPITTLE/DepenDance recently published an essential anthology titled “BRAIN FLAKES”). At the end of 1983, having concluded the group experience with the consequent and inevitable return to the original duo dimension the musical style further evolved putting even more emphasis on the unique blend of electronic sounds and almost black /soul influences of the new compositions that would later be collected in 1984 in the original version of E.P.

The duo's sound at that particular time was characterized by the innovative use of synthesizers and drum machines for unconventional song structures, which at the same time also encapsulated Ciranna and Pizzin's experimental ethos, thus allowing them to follow a parallel trajectory capable of maintaining a certain distance - while remaining somewhat related to - from the contemporary mainstream pop and the so-called ITALO disco strand.

Ultimately, this 1984 EP by the Ruins - of which Spittle DepenDance now offers a valuable reissue enriched with additional material from the period that has remained completely unreleased until now - is a testament to the band's innovative spirit and its role in shaping the Italian new wave scene, landing moreover to international acclaim and acclaim even over the following decades. With its mix of electronic experimentation and dark pop sensibility, it remains essential listening for fans of avant-garde pop music.

30 Jahre Bell Book & Candle - Zu diesem großartigen Jubiläum erscheint das neue Album „L.O.V.E.“ mit 12 neuen Songs auf CD, Vinyl und digital, sowie in der Deluxe Edition als Doppel-CD mit dem 21 Titel umfassenden „Best Of“ aus 3 Jahrzehnten der Band.1994 gründete sich das Trio Bell Book & Candle, das 1997 mit dem internationalen Hit „Rescue Me“ die Welt eroberte. Die besondere Magie der Band um Jana Groß, Andy Birr und Hendrik Röder stellte sich schon im Namen dar, der dem Film Bell Book & Candle (1958) entlehnt ist. Bell Book & Candle haben bis heute etwa 1800 Konzerte zwischen Templin und Texas gespielt (u. a. im Vorprogramm der großen Deutschland-Tourneen von Whitney Houston und Roxette). Ein Erfahrungsfundus, von dem die Drei profitieren und der auch ihre Musik immer wieder neu geprägt hat.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

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.

Ruby Wine Vinyl. Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Veteran electronic music composer Jill Fraser"s new work takes stock of generations and lifetimes of memory, speculating on how the spirit of our songs might be interpreted after we"re gone. With her 1978 Serge Modular, Prism Modular and Ableton Push 3 in the circuit path, she recomposes a stack of American revival hymns, making new creations for the future. A fluent meditation upon mortality and rebirth amid numinous infinities of dimensional sound. The sound world of Earthly Pleasures accesses a seeming infinity of dimensional sound in which the human hand is always keenly felt, no matter how deep the space. It"s a breathtakingly transcendent album that suggests inclusion within a diversity of genres: Ambient, Electronic, New Age, Modern Classical, Gospel, Healing, Sacred... . It is the work of a veteran composer and synth master at the peak of her powers, meditating upon the detritus of memory, the passage of all consciousness, and the rebirth of meaning in a new era.

Dieses 2-CD bzw 2LP-Set mit dem Titel Early Home Recordings versammelt 27 alte Aufnahmen aus den 1960er Jahren (hauptsächlich 1966-67) der Vor-Fairport Convention Sandy Denny. Sorgfältig remastered, enthält dieses Paket ein exklusives neues Essay des Fairport Convention-Biographen Patrick Humphries - der Sandy persönlich kannte. Enthalten sind zwei verschiedene seltene Demos ihres Klassikers 'Who Knows Where the Time Goes' von 1967 (bevor sie ihn mit den Strawbs aufnahm) und ein weiteres von 1968. Sie hatte dieses unglaubliche Talent, diese unglaubliche Stimme - sie spielte 'Who Knows Where the Time Goes', und ich fiel fast vom Stuhl. - Linda Thompson. Außerdem gibt es eine Reihe von Liedern aus Sandys Feder, darunter 'Boxful Of Treasures', das später in den Song 'Fotheringay' umgeschrieben wurde (von Fairport Convention's What We Did On Our Holidays Album). Fotheringay" erscheint hier auch in Demoform. ,Sie muss neu bewertet werden. Sie hat eine Art von Song geschrieben, die heute nur noch sehr selten geschrieben wird - emotional, musikalisch interessant, wirklich gut gesungen - ernsthaftes Songwriting. Sie war dem Rest haushoch überlegen. Und das bleibt sie auch." - Ashley Hutchings (Gründer von Fairport Convention). Außerdem gibt es gefühlvolle Coverversionen von Jackson C. Frank, Fred Neil, Anne Briggs, Dylan und vielen traditionellen Folksongs. Die endgültige Sammlung von Dennys frühen Demos, die von ihrem Nachlass autorisiert wurden, mit Sandys Tochter Georgia Lucas' eigenen charmanten Zeichnungen ihrer Mutter, die zum ersten Mal auf einer offiziellen Denny-Veröffentlichung erscheinen, sowie bisher unveröffentlichten Bildern Sandys der 1960er Jahre. Linernotes von Reissue-Produzent Pat Thomas.