The SteelDrivers are more than the launching pad of Chris Stapleton’s career and the home-base to the multi-talented musician and songwriter Tammy Rogers. They’re an ever-evolving group of seasoned veterans who have reinvigorated bluegrass by mixing in their individual influences and histories. Stirring Southern soul, Nashville country, deep blues, and wooden-church gospel into bluegrass, The SteelDrivers created a hybrid old as the hills and fresh as morning dew. Or, as a slack-jawed Vince Gill described their sound more directly, “an incredible combination.” Over the past 20 years, The SteelDrivers have become one of the biggest names in progressive bluegrass. After four Grammy nominations, the Americana Music Association’s New Artist of the Year and IBMA’s 2009 Emerging Artist of The Year, The Muscle Shoals Recordings took them to the next level, winning the band their first Grammy Award and landing them another #1 Bluegrass album. In every way, The Muscle Shoals Recordings was a major step forward for the group. Former bandmember Chris Stapleton contributed a new song, “Drinkin’ Alone,” and longtime fan Jason Isbell shows up on a few tracks as co-producer and guitarist. The core of the SteelDrivers stepped up as well, with even richer and more evocative songs and performances that cut deeper than ever. It sounds like an album that should have always existed on vinyl but somehow never was. Until now. Vinyl debut of the Billboard #1 Bluegrass Album & Best Bluegrass Album Grammy winner Featuring production & guitar by Jason Isbell Includes "Drinkin' Alone," written by former SteelDriver Chris Stapleton "Their playing is magnetic" —NPR "The group has rarely sounded more focused or passionate
The band’s classic second album, newly reissued on baby blue vinyl and blue & white wave vinyl! As its name suggests, Champ is a triumph – an album of taut catchy anthems that display a vigour and fizz and from the Toronto four piece. Stand out songs include the electronic pop of “Bambi,” the curiously titled duo “Favourite Foods” and “Favourite Colour” and the urgently anthemic “Wait Up (Boots of Danger).” Again Dave Monk’s lyrics are a real highlight with strikingly juxtaposed imagery – “the killer with the coloured kite,” “the national child star in a coat and a scarf, alone in the laundromat.” Ultimately, though it’s the fizz bomb youthful energy of the songs that appeals most
The band’s classic second album, newly reissued on baby blue vinyl and blue & white wave vinyl! As its name suggests, Champ is a triumph – an album of taut catchy anthems that display a vigour and fizz and from the Toronto four piece. Stand out songs include the electronic pop of “Bambi,” the curiously titled duo “Favourite Foods” and “Favourite Colour” and the urgently anthemic “Wait Up (Boots of Danger).” Again Dave Monk’s lyrics are a real highlight with strikingly juxtaposed imagery – “the killer with the coloured kite,” “the national child star in a coat and a scarf, alone in the laundromat.” Ultimately, though it’s the fizz bomb youthful energy of the songs that appeals most
Brought to life in 1976 on his small imprint Stars, In Dub is one of the most sought after Tappa Zukie album. Alongside Man Ah Warrior it is a mandatory purchase for any reggae lover more akin to the spacey reverberation of the studio facilities. With his deep, rumbling bass and the prodigious engineering of King Tubby (the album was cut at his own studio) the record still maintains his adventurous tenure. This crucial re-issue present the complete original tracklist with the addictions of two extra tracks. Dig deep into the ark-eology of dub side.
Cloudy Orange Vinyl. Since first meeting as midwestern high-schoolers in 2009, Citizen have emerged as one of the most promising young bands in the alternative underground today. The band signed to Run For Cover Records in early 2012, releasing their EP Young States that year as well as a split with labelmates Turnover. In February of 2013, Citizen entered Studio 4 with producer Will Yip (Title Fight, Circa Survive, Daylight) to record Youth, their debut full-length. From the first note of album opener "Roam The Room", the fuzzy, guitar-driven rock songs bleed emotion straight through to closer "Drawn Out". Citizen have called on the ghosts of Brand New and early Nirvana, creating a sound that is familiar but immediately all its own.
Barreling straight into song after song, Boston Massachusetts outfit Superdown live each note like there is no tomorrow. Vocals move from gentle to guttural at a moment's notice. The music heightens and breaks into a driving force that feels like it is carrying you to shore through a violent sea. If Samiam and Hot Water Music had the sensibility of The Gaslight Anthem, the result would be Superdown.
Stick To Your Guns hold a mirror up to society’s ills without blurring its ugliness. In an attempt to unapologetically trumpet real change, the Southern California quintet—Jesse Barnett vocals,Andrew Rose [bass],Adam Galindo[drums], Chris Rawson [guitar], and Josh James [guitar]—never shy away from speaking or screaming unpopular truths from the purest place. Founded in2003, Stick To Your Guns have always written and performed with a sense of urgency, their socially conscious message hitting as hard as their signature hybrid of hardcore, punk, and metal. Over the course of their career, they’ve amassed over 50 million total streams, performed on four continents, and shared stages with the likes of Parkway Drive, Architects, and Every Time I Die. Most recently, Alternative Press praised 2017’s True View as “the result of a long time spent on self-reflection and realization.” The band’s latest release ‘Invisible Rain’ incorporates two new songs that remain quintessentially Stick To Your Guns while incorporating fresh elements. The band’s relentless pursuit of a better world and their critique of societal injustices continues to drive their music and message. In 2024, Stick To Your Guns signed with SharpTone Records, marking a new chapter in their storied career. This partnership promises to bring their potent blend of activism and music to an even broader audience, amplifying their call for change and social justice.
"Langt Fra Jorden" ("Lejos De La Tierra", in Spanish, for the book) is the result of the dialogue between the Spanish photographer and artist Irene Zottola and the Danish musician and artist øjeRum initiated by IIKKI, between June 2024 and November 2024.
øjeRum is Copenhagen based musician and collage artist Paw Grabowski. In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies.
With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.
Irene Zottola is a Spanish photographer and artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text.
She has been self-taught in Madrid in the laboratory of the Slow Photo collective since 2016. In 2017 she is a finalist in the Rfotofolio Grant.
Her work has been exhibited in Spain, Italy and Morocco. She has published with editorials such as La Bella Varsovia and Lumen (Spain) and magazines such as She shoots film (Australia), Fisheyemagazine (France) and Vostmagazine (Korea).
In 2021 she received one of the Grants to Creation granted by VEGAP with which she began a new project in Paris and was part of the artistic residence ART(e)gileak of the BBK with a participatory photography project. She is one of the 33 authors of the Mission Region project organized by the Community of Madrid and is part of the platform of the National Image Centre in Spain. Winner in 2020 of the V Edition of the Photochannel Contest, she has published with Ediciones Anómalas her first photobook, "Icarus", which has been a finalist in PhotoEspaña and in Les Photobook Awards of Les Rencontres d'Arles 2022.
"Lejos De La Tierra’’ is her second book.
Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Print Cream 115g/m2 // 80 pages, 17cm x 23cm, 42 photos // Logo and slot embossed // Hot gold stamping // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.
Hip-Hop lost one of its most talented wordsmiths when Fred The Godson passed away due to complications with Covid-19 last year. However, his family has continued his legacy by launching the nonprofit Fred The Godson Foundation, as well as releasing some of his most sought-after music on vinyl and CD. Ascension is the first posthumous release with all new material from the South Bronx emcee. The tracks were handpicked by Fred's brother Russ and they are a prime example of the creative high he was on just before his passing. The collection of songs includes production from The Heatmakerz and guest spots from G Mims, Guap Sinatra, M City, Reef Hustle, Bandz Dinero and more. This album is a celebration of Fred's life and so, fittingly, the LP dropped digitally on his birthday, February 22. On the same day, New York City officials unveiled a new street name in the South Bronx honoring the respected lyricist: Fredrick "Fred The Godson" Thomas Way. A lot of artists make street music, but only a handful have ever received a tribute with street signs.
Debut studio album by American female RnB/Soul trio Brownstone. Originally released by Epic Records in Jan '95. Featues the top 10 R&B hits "If You Love Me" and "Grapevyne," plus a cover of The Eagles' "I Can't Tell You Why". Executive production by Michael Jackson. This is a x12 trk, Double Black LP Vinyl. Marketing.
Experience the unfiltered essence of Carín León with the Latin GRAMMY-nominated album, Boca Chueca, Vol. 1. The chart-topping album dives into the artist's struggles and personal demons, offering raw, street-inspired lyrics and bold storytelling. It's a powerful journey of self-reconciliation and reinvention, set to captivate and resonate deeply. The album includes 19 tracks and showcases Carín experimenting with a variety of genres such as rock, country and pop.
Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.
In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.
The War On Drugs, “one of the premier live bands of their generation” (Pitchfork), announce Live Drugs Again, via Super High Quality Records and Transgressive / Canvasback. Recorded on tour between February 2022 through December 2023 in America, UK, Europe and Australia, Live Drugs Again follows 2020’s Live Drugs and represents The War On Drugs at their ragged, righteous best.
Bandleader Adam Granduciel comments, “Live Drugs Again chronicles the evolution of these songs from the studio to stages all over the world; documenting our continued growth as a live band. This series ensures that these versions, and some of our favorite moments on stage, will live on.”
As Consequence so accurately hailed, “it’s hard to imagine a musical experience that’s more enveloping and uplifting.” This is hearing a band at its peak.
'OK Crooner' the debut LP from French drummer and percussionist Vincent Taeger under his own name (after previous album under his alter ego Tiger Tigre) and his debut on vocals - mixes avant pop with jazz-fink and AOR.
Taeger, who has worked with Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangare, Jeff Mills, Archie Shepp and Sampa the Great, during COVID started frantically listening to French vocalists such as Alain Souchon, Alain Chamfort, Richard Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. Coming from rap, he has a knack for punchlines. Throughout the album, he alternates between risque humour, Gaulish wit, and poetry.
While Vincent Taeger is the chief fireworks maker, playing most of the instruments, some of his longtime collaborators come to support him on a few tracks, forming the Jazz Kamasutra: Ludovic Bruni (bass), Sylvain Daniel (bass), Arnaud Roulin (piano, synth), Fred Soulard (synth), Maud Chabanis (vocals), Bettina Kee (vocals), Mathias Allamane (double bass), Emile Sornin (ondioline), and Remi Sciuto (saxophones). Vincent Taurelle, mixed the abum. Recently, he has worked on albums by Justice, Seun Kuti, Raphael, and Clara Luciani.
Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.
FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.
REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”
THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.
Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.
FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.
REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”
THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.
Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.
FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.
REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”
THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.
Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.
FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.
REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”
THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.
"Color LP" is pressed on gold vinyl. Black Up is the new sonic move from Shabazz Palaces. Like rich velvet hijabs or gold threaded abayas. Luxury as understood by the modest. Shabazz Palaces. If Bedouins herded beats instead of goats and settled in Seattle instead of the Atlas Mountains, this would be their album. Forward thinkers but nostalgic for a sparer time when ancient astronomers only recognized five planets. Hip hop. Black light uses electromagnetic radiation to eradicate microorganisms, but shabazz didn't come to kill a sound, just to shine their own incandescent lamp on this. Hear. Hard and clear. Fifty thousand years in the making. Honorable._palaceer pink gators. Produced by Knife Knights.plcrs at Gunbeat Serenade Studio in Outplace Palacelands. It was recorded and mixed in Lixx-alog by Blood.
This record _produced by Bomp's Greg Shaw_ is the result of pure teenage exuberance!! Garage punk at its best that transports you back to either 1984 or 1966! Produced by Greg Shaw, "All Black and Hairy" was originally released in 1984 on his label Bomp!, resulting the only LP ever recorded by the band in their short career. Unavailable for over a decade now we are thrilled to reissue this essential `80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Includes a booklet with notes by band member John Hanrattie and rare photos.
MANOWAR is an American heavy metal band from Auburn, New York. Formed in 1980, the band is known for lyrics based on fantasy and mythology . The band is also known for a Loud and Bombastic sound. In 1984 the band was included in the Guinness Book of World Records for delivering the loudest performance, a record which they have since broken on two occasions. They also hold the world record for the longest heavy metal concert after playing for five hours and 1 minute in Bulgaria (at Kavarna Rock Fest) in 2008. MANOWAR have also been known for their slogan "Death to false metal » and have maintained a very strong following with dedicated fans worldwide as referred to by the band as "Metal Warriors", "Manowarriors", "Immortals" or "Brothers of Metal". The band signed with Atlantic Records in 1987. Via Atlantic, they released 'Fighting the World', which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly. In 1988, MANOWAR released the album 'Kings of Meta’l, which is the band's best known work. Songs like "Heart of Steel", "Kings of Metal" and "Hail and Kill" are performed regularly in concerts. 'Kings of Metal' is MANOWAR's highest-selling album worldwide. A new musical unit after the recent changes, MANOWAR released The Triumph of Steel in 1992. It gained some great success and was particularly famous for the presence of a suite lasting no less than 28 minutes entitled "Achilles, Agony and Ecstasy in Eight Parts", inspired by the events of the Iliad and the hero Achilles. After this release, the band went on a world tour for two years. Those MANOWAR’s album have become legendary and are still must have in any metal fan record collection . Vinyls formats Having been very rare and reaching high prices online, those three albums are now being made available again in quality coloured vinyls; Grab them now while you can !!
out of Stock
Last delivered 21 months ago available to reorder, subject to availability
Classy and soulful collaboration with one original and three remixes For the Original Mix, label owner Sub Semantics teams up with Hanover-based Producer ANDERE. It features a highly stuctured groove, elegantly layered with energetic pads and a catchy lead melody. On A2, Map.ache from legendary Giegling label and co-founder of KANN records, delivers a minimalist, super-dreamy remix. On the ipside, the Argentinian producer Volpe delivers reduced dubby techno with an oldskool vibe, preserving many elements of the original. MELATRONIX, also known as Elad Magdasi and Mathias Weber, contribute to the EP on B2. The highly experienced artist duo and Front Left Records label heads close the EP with a particularly powerful remix, straightforward and with remarkable precision.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
"Over the years, Ellende has released six full-length albums and three EPs. They achieved four official chart positions (Austria: #14, #21; Germany: #31, #37) with recent full-lengths, while the band has performed more than 120 international shows and reached over two million Spotify streams in the past year.
The lyrical themes have evolved alongside the music. From early reflections on misanthropy, nature, and isolation to later explorations of human nature, social criticism, war, loss, despair, and dementia. The upcoming full-length album “Zerfallˮ portrays the state of being shattered into fragments and the slow, painful process of rebuilding oneself: a confrontation with the void and ultimately a triumph over it. Shaped also by a tragic event in the life of its mastermind, Ellendeʼs work continues to fuse raw intensity with profound emotional depth."
This Is DJs Choice Vol. 4 brings you a great selection of Funk, Soul, Latin and Hip Hop.
Five years after the last installment of the series, Volume 4 is compiled by Gu, a long-time friend and DJ partner of Unique label founder Henry Storch, and the tracks represent the two decades they have known each other and played records together, as well as the music they enjoyed.
All choices are originally 7 Inch records from Gu's crates put together like a DJ-Set for you to enjoy: The Soul of The Sweet Vandals and Carlton Jumel Smith, the Deep Funk of Naomi Davis & The Knights Of Forty First Street, The Supersonics and Sharon Jackson & The Soul Destroyers, the Latin sounds of Diesler and Eli Goulart E Banda Do Mato and the Hip Hop grooves of Jay Are (aka J.Rawls and John Robinson), The Bamboos featuring Ohmega Watts and Daddy-O of Stetsasonic.
This compilation is a celebration of music from beginning to end.
About This Is DJs Choice:
The series started as a friendship project by Henry Storch, who wanted to immortalise friends and allies from the DJ scene, who picked vinyl as their format of choice. The genre didn't matter, as long as the vibe was right. In 2008 Vol. 1 featured a selection of organic Club Sounds and Break Beats put together by Soulinus & Pun, followed by Keb Darge & Lucinda Slim and their favorite Rhythm & Blues, Rockabilly and 60s Soul tunes on Vol. 2 in 2009. In 2019 Les Intouchables aka Marc Hype and DJ Suspect presented a variety of funky and soulful music with an addition of the occasional Boogie, Reggae and Hip Hop track.
About Gu:
Gu is a DJ, musician, label owner, producer, writer and producer from Northern Germany. His dedication to music started in his pre-teens in the late eighties and he is playing vinyl ever since. Over the years he has worked with a number of his favorite DJs and artists like Keb Darge, Andy Smith, Snowboy, The New Mastersounds, Osaka Monaurail, The Sweet Vandals, The Allergies, Andy Cooper of Ugly Duckling, Daddy-O of Stetsasonic and Chuck D of Public Enemy to name a few. His DJ career took him all over Europe again and again.
In 2005 he started Our Label Records with his brother Tom to release new Funk music on 7 Inch vinyl and added the Hip Hop 45 imprint Origu in 2015. Since 2009 and he is on air every week with his radioshow Home Diggin', which was also picked up by Chuck D's Rapstation in 2019. Additionally he is lead singer/rapper for the Songcore duo Sorry We're Closed and the Hip Hop outfit Alder Ego. He also does readings of his book of one-liners and competing on Slam Poetry stages.
out of Stock
Last delivered 5 months ago available to reorder, subject to availability
Ein Ltd. Reissue als Grünes Vinyl von Sizzlas Meisterwerk 'Black Woman & Child' von 1997!
- „Meisterwerk“ - Rolling Stone Magazin
- Produziert von Bobby Digital, gilt Black Woman & Child zu Recht als das wichtigste Reggae-Album der 90er Jahre.
- Black Woman & Child wurde 1997 von Greensleeves veröffentlicht und war Sizzlas Durchbruch, der ihm eine Nominierung für den International Reggae Artist Of The Year einbrachte und seinen Platz als Star der 90er Jahre sicherte.
- Vollgepackt mit Hit-Singles über einige Riddim-Relicks, darunter 'Make It Secure' (auf Drum Song), 'One Away (Satta Massagana)', 'Give Them The Ride' (The Lecturer) und der hymnische Titeltrack 'Black Woman & Child'.
- Enthalten sind zwei weitere Kombinationen mit Capleton bei 'Babylon A Use Dem
- Brain“ und Edi Fitzroy bei ‚Princess Black‘.
- Als einer der wichtigsten und erfolgreichsten Künstler der Reggae-Geschichte ist „Black Woman & Child“ auch fast drei Jahrzehnte später noch ein unverzichtbares Album.
out of Stock
Last delivered 21 months ago available to reorder, subject to availability
Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.
out of Stock
Last delivered 21 months ago available to reorder, subject to availability
While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.
out of Stock
Last delivered 21 months ago available to reorder, subject to availability
A quarter century since their 1998 debut, No Fear of Time finally reunites one of the greatest hip-hop duos of all-time, Black Star. Group members yasiin bey and Talib Kweli first joined forces to deliver their iconic breakout, Mos Def and Talib Kweli are Black Star, which quickly became one of hip-hop's most revered works and launched both already-rising stars into the stratosphere. Although each has since enjoyed success and acclaim in their individual careers, they've never realigned for a sophomore follow-up to that release until now. Produced entirely by renowned beatsmith Madlib, No Fear of Time has a future vibe with vintage soul. The 9-track album was recorded guerrilla-style in hotels and dressing rooms around the globe, and initially saw a non-traditional release, being made available exclusively on a subscription-based podcast platform. Now, the album is officially available on physical formats for fans worldwide to own and appreciate the triumphant return of Black Star.
out of Stock
Last delivered 20 months ago available to reorder, subject to availability
Die Doppel-LP im Klappcover ist in limitierter Auflage für kurze Zeit wieder erhältlich!
"Music Is The Rod" kommt mit den 24 besten Tracks des Sängers, mit Fotos und ausführlichen Liner Notes von Bridgett Anderson, der ehemaligen Managerin von Garnett Silk, und Anthony Rochester (seinem Partner für das Songwriting), sowie Zitaten der verschiedenen Produzenten: Bobby "Digital" Dixon (Digital B), Donovan Germain (Penthouse), Chris Chin (VP), Courtney Cole (Roof International), Richard "Bello" Bell (Star Trail), Sly Dunbar (Taxi), Danny Browne (Main Street), Richie Stevens (Pot Of Gold) und Phillip Smart (Tanyah).
After the incredible interest in the KOSMONAUCI debut album, we created a dedicated version for the Japanese market. "Japan Edition" has an insert translated into Japanese. The vinyl is black (180g). The label also has Japanese markings. Each record also has a special Japanese OBI.
U JAZZ ME is a boutique label rooted in U Know Me Records.
"Sorry, nie tu"is the debut album of the boys band KOSMONAUCI. The album consists of original compositions by the band members that were created over several years and evolved with the artists. The music of the Cosmonauts derives from jazz and improvisation, but over time the musicians have developed many new ways and possibilities to draw from many other, seemingly distant musical genres. Songs characterized by improvisation and rhythm of drum & bass or hip-hop are one of the characteristic features of the album "Sorry, nie tu". The music of the band KOSMONAUCI is stylistically extensive and at the same time very coherent, thanks to the combination of beautiful lyrical melodies with catchy and often surprising polyrhythms or bold improvisations. KOSMONAUCI have been playing together since high school, which can be heard very well in the chemistry of the whole band and the emotions flowing from the album. On March 21, 2024, the premiere of the debut album entitled "Sorry, nie tu" will take place. The album will be released by U Jazz Me, a sublabel of U Know Me Records. It will be the inaugural sublabel album.
KOSMONAUTS– a boys band originating from jazz traditions, which in its musical language draws onhip-hop,drum & bassandimprovisation. The instrumentarium, which includes saxophone (Miłosz Pieczonka), bass (Bartłomiej Lucjan), vibraphone (Tymon Kosma) and percussion (Jan Pieniążek), creates a unique style of the group, balancing between emotional melodies and polyrhythmic structures. The roots of the band's music go back to the jazz traditions of the 1950s to the 1990s. Their current sound, on the other hand, is much more varied by the search for ideas in genres such as hip-hop, drum & bass, alternative pop or the contemporary London Yass scene. KOSMONAUCI have been playing with each other since high school and have known each other since elementary school. They went to school together, to the concerts and grew up together in the field of music as well. The artists have classical and jazz education, which gives them a wide range of possibilities in the field of improvisation, performance and composition. Each of them has an individual style and different inspirations, which find a common denominator in the band, allowing them to create a unique style of playing and sound. Despite the fact that they have been active on the music scene in Poland and abroad since 2018. Their first album is released in 2024. Over the past few years, KOSMONAUCI have had the opportunity to perform at renowned jazz festivals, collaborate with renowned artists and learn from the best artists in Europe. The resultant of all these factors is the band's debut album "Sorry, nie tu", which will be released on the sublabel of the U Know Me label - U Jazz Me.
out of Stock
Last delivered 21 months ago available to reorder, subject to availability
The Acidboychair music project started in the early noughties as a commentary on what journalist Simon Reynolds would summarise a few years later as Retromania. Initially conceived by Thomas Baldischwyler and Andreas Diefenbach as a performative revival travesty with large-format drum computers and synthesizers reconstructed from cardboard, everything took a surprising turn when DJ Mooner (the man behind the now defunct Munich music label Erkrankung Durch Musique) took an interest in the adventurous audio material produced by Baldischwyler. In 2005, the LP 1987 (EDM1016), produced almost exclusively with long-forgotten software (SoundEdit 16, RB-338, etc.), was released on Mooner's label. As a result of the growing number of bookings, Baldischwyler had to think about improving the performability of his intentionally amateurish productions. Fortunately, the Ableton Live programme became a DAW with a MIDI sequencer and support for VST plug-ins as early as 2004 - and this made it easier for him to execute his intuitive, error-friendly version of acid house. This can be heard on the first two sample-heavy tracks on the A-side of Come Down Easy, which were recorded in 2005 and 2006 respectively at Acidboychair gigs at Hamburg's Golden Pudel Club and Munich's Registratur. The first two tracks on the B-side (produced sometime between 2006 and 2008) were actually supposed to be part of a solo release on the Acido label run by Dynamo Dreesen, but this never materialised. However, the final tracks and the 133.3 BPM lock grooves that follow are the title and central to this catalogue number TBG123: Through ethno-musicologist Arthur Boto Conley, who had already released a one-sided 12 on his label with material from one of Baldischwyler's audio installations, he met Florian Meyer (Don't DJ) and Marc Matter (Spoken Matter), who introduced him to their collaborative project Institut F?r Feinmotorik (IFFM). Baldischwyler's attempt to approach the sound aesthetics of IFFM led to the tape 60 Minutes Of Barely Modified Lock Grooves (TCCC06), recorded in Rome in 2018. A buyer of this tape introduced him to the Detroit collective Pure Rave, which he immediately contacted and introduced to the work of the IFFM. It was important for Baldischwyler to have an analogue update made and so both the Detroiters and IFFM, who now live in Berlin, were given 8 copies of EDM1016's backstock to remix the material in their own way. At their jam in Detroit, Pure Rave opted for the almost identical material that IFFM had also used for a live performance in the Hamburg project space Beek. The dominant jumps in both arrangements come from the track Eightyseven, produced in the early 2000s for the LP 1987, an awkward remix of the Spacemen 3 track Come Down Easy, which is also referred to in the liner notes on the inner sleeve of TBG123. The almost two-decade-old revival idea thus turns into false memory syndrome and runs into a - in keeping with our times - clean-cut (endless) groove. Kassem Mosse (The KM of MM/KM) on Come Down Easy after a first listening session: I think it all works very well as a mix, no matter where you start it carries you further forward back in the loop. if I understand the liner notes correctly, it's about the music's turn from tradition preservation (doing everything right) to ecstatic delusion (not doing everything right when intoxicated). Now that I'm reading again instead of listening, the titles give me a different understanding of the connections; how the skipping belongs together, which playtime is connected. Now I can name my favourites. Thank you for the journey!
“My introduction to “noise” came from a record shop in Lake Worth, Florida ran by a musician named Kenny 5. Kenny had left Detroit sometime in the mid nineties and had begun selling used records and CD’s from the downtown strip of this tiny southern Florida city in a humble shop sandwiched between a deli and a dog grooming business. Kenny previously was on labels like Amphetamine Reptile and timeSTEREO, and the records and videotapes that would be on repeat at his shop were a vast sonic expanse that spoke to the eclecticism of his experience as a touring musician participating and adjacent to American noise culture through the early to late 90’s. In 1998, I was eleven years old and I would order a pizza with him and watch VHS tapes of Japanese noise and deathmatch bootlegs, as well as any other sonic and subcultural rarities that far outstripped my age to comprehend (notably the RRR “Journey Into Pain” compilation and various Vanilla Tapes videos). This widecast net of information formed an introduction to a reality that did not fall deaf on me, but it took many years later for me to reorient the specific freedoms of what this dense and cathartic sound culture had imparted on my life and would continue onward to.
What does this have to do with this selection of choice recordings from the Secret Boyfriend catalog for the enmossed label? For the uninitiated, Secret Boyfriend is the long running moniker of Ryan Martin, North Carolina musician and label proprietor of the Hot Releases imprint. For over a decade from this writing I have watched Secret Boyfriend, and Hot Releases by extension as a curatorial and archival effort, embodying the multiplanal capacity that noise loosely functions from as an umbrella ideology and formalist avenue for sound creation. For anecdotal purposes, from (before) 2006 until roughly 2023 the East Coast of the United States showcased a vibrant network of eclectic regional festivals that saw wide swaths of artists addressing and negotiating the notion of what qualified “noise” from a conceptual and ideological perspective. Some festivals honed in on particularities in aesthetics and tropes, and others had a kind of “catch-all” implementation that allowed for a salvation of the sort of alienated and singular artistry that was amassing throughout these territories. While clear guidelines had been set from regional predecessors as to how noise with a capital “N” should maneuver, Secret Boyfriend is emblematic in the spirit of fluidity that was either implicitly coupled to the notion of the genre, or grew to evolve towards or devolve from.
Within Secret Boyfriend performances, I have seen and admired a mirroring from a ravenous appreciator of this culture at large back towards itself. Typical of a Secret Boyfriend set is an interchangeable narrative arc wherein blistering feedback laden scrap metal improvisations are forayed into naive ambient or “pop” songs, or skipping CDs, or mixer feedback play, or delayed Roland 707 drum workouts all at once and in a unique hegemony. Secret Boyfriend's stylistic mastery of each endeavor is at once an homage to a history of loving listening and enacting, while a brave step into the realm of actualizing the unique fluidity of his own practice. In performance and the action of network engagement, Secret Boyfriend operates a survey of that which he sought to hear and that which he cultivates around his work. His operations are mirrors, and the project (alongside his other peers) is a reflection on the ethos of his time.
Conversely his recording practice narrows in on these moments and allows for a different kind of intimacy or alienation for the non live listener. This record of selected “pop songs” (let's call them that) is particularly poignant at a time when the culture Martin mirrors is at a strange crossroads with itself. The aforementioned festival networks necessarily change and shift. The onlookers become the artists, the artists find new horizons, and the spaces for these cycles fade into locales of a distant memory. It seems, from my perspective, that audiences currently yearn for a more bottlenecked experience, searching for some ontologically vetted manifestation of an idea, of a sound and less for an experience that functions in opposition to our collective banalities. This makes sense in the face of general global catastrophism that plagues us. We need certainty of what something is somewhere, don’t we? Noise as an idea has expanded and contracted to so many iterations of itself it is hard to tell what it even is, and it is particularly difficult to identify in the absence of solid network activations a moment to reflect on its own complexities and nuances. In the face of so much change, I argue that the language of noise culture at large has on one hand become increasingly didactic and predictable, and laughably inclusive and non linear on the other. Probably has always been this way, but now we are in the midst of a moment of extreme access and indexicality, which somehow cauterizes expansion and naivety and chance.
This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, maybe, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.
You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”
“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.
“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”
—John Corbett (excerpt from the liner notes)
No spot in music is immovable. No music can sit still but it’s hardly ver as true as it is for Dowdelin, a band that can’t be tied down to a single geography and genealogy. The creole language, Caribbean rhythms, urban energies, dazzling virtuosity, sensual electro: The group evolves in a unique place where genres and colors, heritage and audacity can merge.
Throughout the past decade Paris-based producer, DJ and label owner Dj Steaw has gained widespread recognition as a bastion of raw, authentic music in the contemporary scene.
His material has found its way onto the likes of PIV Records, Hot Haus, Meta and of course his own Rutilance, Steaward and House Puff imprints.
Here we see him joining Kerri Chandler’s Kaoz Theory with his latest release and the title-track ‘Colour Of Mind’ opens the package with shuffled, dynamic drums and hypnotic vocal chants alongside bumpy stabled bass, squelchy acid licks and airy dubbed out chords.
‘Dance To The Rhythm’ follows next, stripping things back to low slung drums, echoing stab sequences, subby swells and breathy vocal cuts.
‘I Can’t Feel It’ follows on the flip-side next, heading back to a more classic house aesthetic with a gritty bass hook, organ lines and ethereal textures running atop crunchy drums.
‘Star Ready’ finally concludes the EP on a deeper tip, bringing circling synth swells, elongated bass tones and skippy percussion into the limelight.
Upfront DJ Support:
Kerri Chandler
Dennis Quin
Chris Stussy
Fabe
Cinthie
Franck Roger
Ben Rau
Jimpster
Ruff Stuff
Julietta
Chrissy
Demuir
From Karma Recordings comes their tenth EP.
A massive milestone for the label in these trying times since releasing their first EP in December 2021. It seemed fitting to bring back producer Blame to remix the massive title track Crystals from DJ Ande, the original on KR002, the Neo EP which was also remixed by Blame.
It also seemed the perfect time to cut Neo’s Reality from DJ KOS as a nod to Blame and the superb Neo’s Real Future. The third and final track is Crushed Ribs from DJ Terrace who is becoming a bit of a staple to the Karma Recordings label, being featured on KR003 and KR008 as well as projects for the future. Keep an eye on this label, they are slowing down for no-one.
The album's diverse instrumentation, from ethereal synths to soulful guitar riffs, showcases remarkable versatility. Lyrics delve into profound themes, invoking introspection. Seamless production maintains a consistent flow, ensuring a compelling narrative. While a couple of tracks slightly falter in cohesion, the overall impact remains undeniable.
