Cerca:j ru

Kulture Galerie returns with its third various artists record featuring Doc Sleep, Rambal Cochet, The Jaffa Kid, Mesmerist, Jack Bags and Undsidedly.

The multi format label run by Filippo MSM (of Metropolitan Soul Museum) is back with its 7th release overall, this time on wax. This new collection continues to show Filippo’s predilection for music with non straight forward drum patterns and moody melodies.

Volume Three is a well thought mix of styles, spanning to and from two Trance oriented tracks from Rambal Cochet and The Mesmerist through the broken techno of Doc Sleep, Jack Bags’s all analogue Acid House track, The Jaffa Kid’s uncompromising Drexcian’s Electro and Undsidedly dreamy’s own take on the genre.

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences. The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges us to acknowledge our personal and systemic responsibility. What peace can we make with privilege when the true cost of our comfort is not measured in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness? Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural world. This delusion turns bodies into objects, land into property, and people into expendable tools. If our value were instead determined by our contribution to the ecosystem, who could claim that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many. In grappling with grief and loss on both personal and global scales, Margaret sought solace in the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining a path where the final act is to give back what was received from creation, offering our lives and deaths to sustain existence. once I slough off this human skin I will find my home and ancestral kin_ in the coffin-birth of my cadaver's ecosystem

Contexture is another classic example of a true friends & family gathering. The Nijmegen based imprint, running for over 12 years was born out of a tight group of friends with the same passion. 12 years later, their strongest releases are still based on this exact same principle, collect and release music from the inner circle. Julien Fuentes, Dorcas label head, starts things easy with his Klaridub ambient mix. It's quickly followed by familiar ESHU faces Jocelyn and Yasin Engwer, classic dub techno beats from the ESHU vaults. There's also room for new faces, the recently launched collaborative project between Vand and Shoal as Voal dropping their 'Eight Ball' as their ESHU label debut. Flawless minimalistic grooves that make a perfect fit for their long awaited contribution. Label head Ivano Tetelepta teams up with Pirat Records own Christine Benz. After sharing the DJ booth together multiple times they also joined forces in the studio recently and crafted this squeeky techno drifter. There's also an additional 10", exclusive to the ESHU Bandcamp, includes two beats from Klaridub, bringing some excellent smoke ready, head steady dub-techno cuts.

"Pages' self-titled debut album, released in 1978, marked the beginning of a notable journey for the American rock band featuring Richard Page and Steve George, who later gained fame as members of the successful 1980s band Mr. Mister (with hits “Broken Wings” and “Kyrie”). This album introduced listeners to the smooth and sophisticated sounds that was dubbed as AOR back in the day, but nowadays is making a comeback called yacht rock or yacht soul.

The album Pages is a blend of pop, rock, and jazz influences, showcasing the duo's knack for crafting catchy melodies and intricate harmonies. Richard Page's distinct vocal style, combined with Steve George's keyboard wizardry, set a foundation for the lush and polished sound that would define their future work. Next to the further band members Peter Leinheiser, Jerry Manfredi and Russ Battelene, session musicians included Philip Bailey (Earth, Wind & Fire), Dave Grusin and Michael Brecker. Notable tracks include ""If I Saw You Again"" and ""Let It Go"".

The self-titled debut album by Pages is available as a limited edition of 1000 individually numbered copies on blue marbled vinyl and includes an insert with lyrics. The album is housed in a deluxe sleeve with linen laminate finish.

Lenske's 23rd release is a comeback by the undeniably talented Milo Spykers. With his fifth release on the label, the Belgian producer and DJ solidifies his strong presence within the Lenske family. This EP features his distinctive blend of harder techno and psy-elements, delivering an electrifying package and his most mature to date.

This four-track EP is a testament to Spykers' unique style and innovative approach, perfect for the sweaty dancefloor. It kicks off with the title track 'Thunderworld', bringing a stomping kick and a hard, rolling groove. The bouncing lead, reminiscent of a thunderstorm, paired with cinematic alien sound design, creates an intense atmosphere. A breakbeat section provides a contrasting element, heightening tension during the break. Following, 'Ghostrider' features metallic percussion resonating throughout the track, with a rolling bassline and a catchy groove that keeps listeners anchored to the dancefloor. The rising dark bassline adds an intimate
vibe, building suspense and intensity.

With a bouncy groove and a trancy bassline, 'Warp Drive' takes listeners on a mind-bending journey. The synth seems to rise from the underworld, pushed by a distorted bass evoking the sensation of racing through a neon-lit tunnel, akin to a Blade Runner-esque landscape. Closing the EP, 'Croton' showcases Spykers' producer-skills once again, delivering a rolling distorted bassline and saturated percussion that the Belgian producer is best known for. Dark leads dominate the scene, merging seamlessly with the fast-paced, aggressive cut, while delayed leads on the downbeat add color and atmospheric pads unify the composition, introducing a touch of darkness.

TRANCE ATLANTYK is dropping some serious heat with the upcoming release of EARLY ZEROS, the latest EP from label founders PANKOFF & DJ VARIUS TRAX. After experimenting with some polish vocals on their “Sound of Poldon” debut EP, the duo serves us this time a modern high-energy tribute to the early 2000s—an era when progressive house and trance ruled the dance floors.

The EP kicks off with "Early Zeros," a track that’s pure nostalgia wrapped in a slick, modern package. Think of it as a sonic time machine, zooming you back to those legendary nights when the bass was thumping, and the vibe was electric. It’s got that uplifting, feel-good energy that’s impossible to resist.

Next up is "Schemes," a track that’s as deep as it is groovy. This one’s all about the journey, with layered beats and hypnotic rhythms that build and evolve, taking you on a ride through the trippy side of progressive house and early trance music. It’s got that classic, boundary-pushing vibe that’ll have you lost in the music.

On the B side the duo slows down the tempo with the track “We Can Rebuild Him” that pays homage to the 6 Million Dolar Man, one of Pankoffs favourite TV series. Piercing cascading synths, a driving bass line and some breakbeat percussion thrown into the mix make this one a great choice for the eclectic dj’a out there.

And just when you think it couldn’t get any better, Bliss inc steps in with a remix of "We Can Rebuild Him" that flips the script in all the right ways. This remix increases the tempo of the chuggy original and transfoms the track into a stomping peak time banger that some might label as furious progressive tech trance.

EARLY ZEROS isn’t just an EP—it’s a party, a flashback, and a forward leap all rolled into one

This tape contains a recording of a live of NPLGNN recorded at Human Razzmatazz (Barcelona) on March 2023.Everything you hear it comes from two Korg Electribe EMX1 +Pioneer DJM900 NXS + Traktor.

To describe the sound it makes sense to bring back what was thepress release of “Sigma/Tau” the first record of NPLGNN releasedin 2014 on Where To Now? (RIP): “NPLGNN creates a less pampered style of body music, stripping away the usual signifiers such as melodies and basslines to create something more utilitarian, brutal and pure.

This is the pre-babel language of dance music - it's cadences are rhythmic and its meaning is comprehensible to all on an innate, primal level.”Ten years later this tape makes those words still remarkable to describe the sound of the Neapolitan head. Among a bunch of unreleased sounds you can go through all the NPLGNN recent records for LavaLava, Youth, Hundebiss and its own lathe cuts series dubbed here and there with vocal cuts intersections.

Coming off like the rude son of early ‘00s breakcore heroes, quotingthe Manchester Boomy heads, NPLGNN delivers a 45 mins mutant soundsystem recording. It's acid dancehall punk, amorphed ragga riddimz, or whatever you want to call it. 100% dancefloor melting .Ask Aphex Twin for a couple of IDs

Melbourne's Sgt Slick returns with another 4 superb re-edits for Vol 3 of his massive Recuts imprint. 20 years deep in the game, accolades aplenty, collabs with some the finest out there and a serious string of his own productions, Sgt Slick knows what works on the dancefloor and these edits showcase that to a T
Featuring some of the biggest names around mixed for the floor, as always Buy or Cry.

Following on from his percussion driven 'Rhythm Trainx Vol 2' EP on the renowned Running Back Ketiov returns with something special for the fourth outing on his own self-titled label. The 'King Of Hypocrisy' LP is a journey of personal development and musical discovery built around soundscapes, field recordings and new monotone arrangements. From the start the Ketiov alias has been about free expression and musical direction and in stark contrast to the Running Back EP this record shows the broad spectrum of the artist's influences and inspirations. Each track holds a special meaning and background story, written in private and kept private until totally finished. From the spooky vocals of 'the Wait' to the blissed-out guitars of 'Today' and the analogue arpeggiators of 'Dual Morality' the ten short tracks come together as an exceptional personal listening experience, which leave us wondering... what else does Ketiov have in store for the future

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

The Congos were formed by Cedric Myton (born 1947 St Catherine, Jamaica) and Roydel ‘Roy’ Johnson (born 1943 Hanover, Jamaica), around the mid-seventies, a time when the Rasta message coming out of Kingston and other pockets of the Jamaican Island was at its most prominent. Cedric Myton’s singing career began back in the rocksteady era in Reggae’s musical story.

He formed the ‘Tartans’ group taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis. They cut ‘Dance All Night’ (1967) and ‘Coming On Strong’ (1968). The line-up reduced to a two piece, Cedric and Devon Russell, when tracks like ‘What a Sin Thing’ and ‘Short Up Dress’ were cut. This line-up became the Royal Rasses, Cedric formed The Congos, on meeting Roydel Johnson. Roydel previously sang as a member of Ras Michael and the Sons of Negas, cutting such tracks as ’Go To Zion’ (1973). As we can see Cedric’s and Roydel’s Rasta roots were firmly in place by the time they had formed The Congos sometimes called ‘The Congoes’.

The Congos possess what all bands look for,that unique sound that draws the listener to them.Lead singer Cedric Myton’s style and phasing, with his distinctive Falsetto voice makes this just the case.Built on a foundation of classic rhythms and with the aid of then Producer, Lee Perry, the groups statement of intent was laid down with one succinct message. The Congos mighty 1977 ‘Heart of the Congos’ album, is quite simply one of the best reggae albums ever recorded.

Producer Lee Perry had wanted to record a classic Jamaican vocal group in his newly built Black Ark Studio. The voice of Watty Burnett was added at the time to cover baritone vocal duties. The studio after various changes in equipment etc. was finally finding its way. A sound built in Lee Perry’s back yard in Cardiff Crescent, Washington Gardens, Kingston, but existing until then in Mr Lee Perry’s mind. The album they cut would be the defining group release to come out of The Black Ark studios, when the vital elements, vibes, musicians, songs and singing would gel to form ‘Heart Of The Congos’. Come the time of it’s release 1977, Lee Perry was in dispute with Island Records and opted to release the record on his own ‘Black Art’ label. Without the high-profile push of a major label, the record undersold and caused a split between producer and band. Under different circumstances maybe this album would be sitting in thousands of homes alongside the Bob Marley, Culture, Burning Spear releases. Cedric Myton went on to release albums with the French arm of the CBS label and Roy Johnson records and tours as Congo Ashanti Roy.

Cedric Myton the central force carries on the mantle of the Congos and we at Kingston Sounds are proud to pick up the story with another set of vocal statements, which sees Cedric cut some of his finest tunes. Helped along by another reggae legend Brent Dowe, lead singer of the Melodians (Rivers of Babylon), over some classic 1970’s rhythms. Yet again we find that magic formula of strong statements working alongside classic rhythms making the balance work. The Rasta message is still strong on modern classics like ‘King Rastafari Is His Name’, ‘Rasta Congo Man’ and the injustices of the world dissected in tunes ‘Some A Thief’, ‘Watch & Pray’ and the prophetical, ‘Citizen Of The World’.

Once touched by magic it does not fade away, but resurfaces as it has with what we believe to be some of the Congos most heartfelt and meaningful set of songs ...... Let the feast begin.

Four years after their Discrepant debut - 'OOOO' -, Lisbon-based travellers Jibóia return to the fold with another offering of globetrotting psychedelia with 'Salar'. With the core trio of Óscar Silva, Ricardo Martins and Mestre André augmented by a stellar parade of collaborators on various roles, 'Salar' further expands on the transglobal visions by now pretty trademarked by the band. Intersped among shorter vignettes for drums, saxophone and bass, each of the more fully fleshed tracks casts a guest to elevate Jibóia's music to uncharted realms - both in a mystical and geographical sense.

Opener 'Selar' summons the cello of songstress Joana Guerra for a skewed dialogue with Silva's guitar, propelled by Martins' drums and percussion and André's electronic textures into 4 minutes and 20 seconds that feel epic - if there was any psychedelic numerological symbolism needed. On 'Solar', Silva's non-western plucking rides on for Yaw Tembe's trumpet to veer in a multitude in directions, while the mysterious 'Sitar' conjures the voice of moroccan musician Ayoub El Ayadi for a contemplative nighttime prayer. Elsewhere, guitarist Rui Carvalho aka Filho da Mãe injects dissonant guitar lines unto 'Sarar's pummelling dance and Pedro Augusto's electronics hover below the shapeshifting dynamics of 'Sonar', among mesmerising keyboard lines. 'Salir' featuring Daiyen Jone enchanted flute brings the album to a close at its most reflective, all crepuscular synth lines and reverbed handclaps.

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

King Tubby the Dub Master, who's output was as prolific as it is sought after, and who's presence is surely missed. We would like to take you on another dub excursion. This time through some essential cuts made for the Producer / DJ Tappa Zukie. King Tubby always added something a little special to the tracks he worked on. Producers would often bring their already recorded tracks to his home studio at 18 Drummlie Avenue in the Kingston district of Waterhouse. The backing tracks which were laid at various other studios around Kingston. Like Channel 1and Randy's Studio 17, would then be voiced/Re-voiced at King Tubby's. Tubby and his team which included Prince Jammy and Philip Smart would be left to create the version cut.

Having listened to the track it would be striped back to the bone of bass and drums and rebuilt. Sprinkling his magic over the track by dropping the bass in and out, adding echo and emphasising various elements of the song. In some cases, dubbing the cut into something unrecognisable from its original sound.

The tracks would be aired on Tubby's Hometown Hi-Fi Sound System. Which acted much like a pre-release for the record to gauge the crowd’s reaction, before the tracks would be unleased on the public. We think we have sourced another fine collection of Tubby Cuts see also King Tubby's Lost Treasures JR001, comprising of work with Mr Tappa Zukie. Lost cuts to some of his own tracks like 'First Street Rock', alongside productions he undertook with the great Prince Allah, Junior Ross and the Spears. Also, the much-overlooked vocal group Knowledge. Some great rhythms, some great tracks, worked over by the greatest dub mixer of them all. Hope you enjoy the set as much as we have compiling it...

Respect Jah Floyd.

It is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed "Mainstream", "Bop", "Cool", "Westcoast", "Eastcoast", "Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of "Please Don't Leave Me", or the climaxing piano solo in the same piece—the bass solo in "Waltz For Seth" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to "Campi's Idea", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo "Herr Fixit", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.

Die aus den eisigen Landschaften Norwegens stammenden 1349 haben dem Black Metal ihren Stempel aufgedrückt, indem sie ihre Instrumente wie Kriegsäxte in der Vorhut des unerbittlichen Angriffs des Genres schwangen. Mit einem Vermächtnis, das mit dem Blut der akustischen Extreme getränkt ist, sind sie zu den Vorreitern der unerbittlichen akustischen Kriegsführung geworden, unermüdlich in ihrem Streben nach den dunklen Künsten.

"The Wolf and The King" - der neueste Kataklysmus, den 1349 entfesseln. Eine stürmische Odyssee durch acht Tracks reinen, unverfälschten Black Metals, der die Fähigkeiten der Band in Sachen Chaos und Gemetzel makellos unter Beweis stellt. Vom unersättlichen Ansturm von The God Devourer bis zu den düsteren Tiefen von Fatalist ist jeder Track ein Portal in ein Reich, in dem Schatten regieren und die Luft dick ist vom Gestank des Verfalls. Ash of Ages vermischt Thrash-Einflüsse mit extremen Black-Metal-Elementen zu einer Reise durch das Herz der Finsternis, während Shadow Point und Inferior Pathways ein eisernes Rückgrat aus klassischen Headbanger-Riffs und unerbittlichem Groove formen. Mit The Wolf and The King erweitern 1349 die Grenzen des Genres, indem sie ihre unerbittlichen Blastbeats und sengenden Gitarren mit einer Atmosphäre apokalyptischer Eleganz versehen.

FFO: Marduk, Gorgoroth, Mayhem, Immortal

Die aus den eisigen Landschaften Norwegens stammenden 1349 haben dem Black Metal ihren Stempel aufgedrückt, indem sie ihre Instrumente wie Kriegsäxte in der Vorhut des unerbittlichen Angriffs des Genres schwangen. Mit einem Vermächtnis, das mit dem Blut der akustischen Extreme getränkt ist, sind sie zu den Vorreitern der unerbittlichen akustischen Kriegsführung geworden, unermüdlich in ihrem Streben nach den dunklen Künsten.

"The Wolf and The King" - der neueste Kataklysmus, den 1349 entfesseln. Eine stürmische Odyssee durch acht Tracks reinen, unverfälschten Black Metals, der die Fähigkeiten der Band in Sachen Chaos und Gemetzel makellos unter Beweis stellt. Vom unersättlichen Ansturm von The God Devourer bis zu den düsteren Tiefen von Fatalist ist jeder Track ein Portal in ein Reich, in dem Schatten regieren und die Luft dick ist vom Gestank des Verfalls. Ash of Ages vermischt Thrash-Einflüsse mit extremen Black-Metal-Elementen zu einer Reise durch das Herz der Finsternis, während Shadow Point und Inferior Pathways ein eisernes Rückgrat aus klassischen Headbanger-Riffs und unerbittlichem Groove formen. Mit The Wolf and The King erweitern 1349 die Grenzen des Genres, indem sie ihre unerbittlichen Blastbeats und sengenden Gitarren mit einer Atmosphäre apokalyptischer Eleganz versehen.

FFO: Marduk, Gorgoroth, Mayhem, Immortal

After almost 2 years in development, Manata’s debut LP - The Golden Age, is by far the most challenging project we had worked on until this day.

This 9 track double vinyl represents perfectly what our vision is through music and what we aim to do as a label. In this album you will dive into Joao’s biggest influences between house and techno, a journey which will take you back to the golden era of electronic music. As you slide into the tracks, you can notice how the album goes from light to dark, with disc 1 delevering a more housy and groovy vibe, and disc 2 beeing more dark and energetic. Reachable to all ears and dancefloors is how we classify this golden nugget.

Bob wundert sich über eine befremdliche Begegnung mit einem 'Blinden' - oder ist es etwa ein 'Blender', dieses Narbengesicht? Und schon haben die drei ??? wieder eine ganze Menge Puzzleteile zusammenzusetzen. Richtig gefährlich scheint die Sache aber zu werden, als plötzlich 'Wanzen' auftauchen und von illegalem Handel die Rede ist, als das 'Motel Seeblick' mitsamt dem Berg ins Rutschen kommt und die 'Maria II' ihre letze Fahrt antritt, die so dramatisch enden wird ...

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

Haunted Presence ist ein bis zum Rand gefüllter Kissenbezug mit köstlichen Halloween-Leckerbissen aus dem Numeroverse und eine unterhaltsame Mischung aus schaurigem Garage-Rock, skelettartigem Soul, mutiertem Protometal und gruseligem 60er-Jahre-Kitsch. Mit einer Spannweite von 20 Tracks wird diese Doppel-LP mit Sicherheit jede Kostümparty, Séance oder Monster-Mash beleben. Warnung! Längerer Genuss kann Gehörschäden verursachen.

Haunted Presence ist ein bis zum Rand gefüllter Kissenbezug mit köstlichen Halloween-Leckerbissen aus dem Numeroverse und eine unterhaltsame Mischung aus schaurigem Garage-Rock, skelettartigem Soul, mutiertem Protometal und gruseligem 60er-Jahre-Kitsch. Mit einer Spannweite von 20 Tracks wird diese Doppel-LP mit Sicherheit jede Kostümparty, Séance oder Monster-Mash beleben. Warnung! Längerer Genuss kann Gehörschäden verursachen.

Gepaart mit dem unermüdlichen Bestreben der Band, ihre Musik im ganzen Land unter die Leute zu bringen, wuchs der Ruf von Maul schnell und ein Pakt mit 20 Buck Spin wurde mit Blut besiegelt. Die ersten Früchte dieses Bündnisses wurden Ende 2023 mit dem Promo-Tape "Desecration and Enchantment" geliefert. Und nun führen alle Wege zu Mauls zweitem Album "In the Jaws of Bereavement".

Während der verrottete Death Metal im Kern der Band unbestritten ist, schämt sich die Band nicht, wenn es darum geht, eine Vorliebe für die härtere Seite des Hardcore mit moshtauglichen Riffs und massentauglichen Breaks zu zeigen. In the "Jaws of Bereavement" schafft es, die unheimlichen Erscheinungen und die melodische Leadarbeit der Größen des Death Metal mit den strafenden Rhythmen der gewalttätigen Kraft des Hardcore so gekonnt zu verschmelzen, dass es sich völlig organisch anfühlt. Zusammengehalten wird das Ganze durch die ungestüme Stimmgewalt der menschlichen Abrissbirne Garrett Alvarado.

FFO: Sanguisugabogg, Phobophilic, Fulci, Scorched, Warflurch, Kruelty, Terminal Nation, Obituary, Gatecreeper

Gepaart mit dem unermüdlichen Bestreben der Band, ihre Musik im ganzen Land unter die Leute zu bringen, wuchs der Ruf von Maul schnell und ein Pakt mit 20 Buck Spin wurde mit Blut besiegelt. Die ersten Früchte dieses Bündnisses wurden Ende 2023 mit dem Promo-Tape "Desecration and Enchantment" geliefert. Und nun führen alle Wege zu Mauls zweitem Album "In the Jaws of Bereavement".

Während der verrottete Death Metal im Kern der Band unbestritten ist, schämt sich die Band nicht, wenn es darum geht, eine Vorliebe für die härtere Seite des Hardcore mit moshtauglichen Riffs und massentauglichen Breaks zu zeigen. In the "Jaws of Bereavement" schafft es, die unheimlichen Erscheinungen und die melodische Leadarbeit der Größen des Death Metal mit den strafenden Rhythmen der gewalttätigen Kraft des Hardcore so gekonnt zu verschmelzen, dass es sich völlig organisch anfühlt. Zusammengehalten wird das Ganze durch die ungestüme Stimmgewalt der menschlichen Abrissbirne Garrett Alvarado.

FFO: Sanguisugabogg, Phobophilic, Fulci, Scorched, Warflurch, Kruelty, Terminal Nation, Obituary, Gatecreeper

Der italienische Musiker, Produzent, Komponist und Instrumentenbauer Alessandro Cortini veröffentlicht am 4. Oktober sein neues Album 'NATI INFINITI' via Mute.

Nach 'Scuro Chiaro' (2021) ist 'NATI INFINITI' ein 40-minütiges Stück in fünf Sätzen, das auf einer immersiven Audioinstallation basiert, die Cortini ursprünglich für das Sónar Lisboa Festival 2022 schuf, wo sie auf vier Etagen des Museu de Lisboa's Moagem präsentiert wurde. Später, im Jahr 2023, präsentierte Cortini die Live-Performance auf dem Atonal-Festival in Berlin, wo er das Werk als einen einzigartigen, sich entwickelnden Dialog neu interpretierte. Das Album wurde von der für einen Grammy nominierten Tontechnikerin, Produzentin und Mischerin Marta Salogni (Björk, Depeche Mode, Sampha) abgemischt und enthält Cortinis Strega-Synthesizer, den er zusammen mit dem Musiktechnologieunternehmen Make Noise entwickelt hat.

Cortini ist einer der wichtigsten Vertreter der zeitgenössischen elektronischen Musik und vor allem für seine eindringlichen, atmosphärischen Werke bekannt. Als langjähriges Mitglied von Nine Inch Nails ist er ein äußerst produktiver Solokünstler, der in den letzten zehn Jahren einen stetigen Strom seiner eigenen berauschenden Musik auf renommierten Labels wie Mute, Hospital und Important Records veröffentlicht hat. Während seines schattenhaften Aufstiegs zum Ruhm hat er mit Künstlern wie Lawrence English, Daniel Avery und Merzbow zusammengearbeitet und wurde in die Rock and Roll Hall of Fame aufgenommen (als einziger italienischer Musiker, der jemals geehrt wurde).

- Ltd. LP: (Limited edition first pressing - Silver Mirror Board - Embossed on front / Debossed on back / Includes information sheet insert)

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Der Saxofonist Phillip Dornbusch hat sich mit seiner Band Projektor vorgenommen, die Aufmerksamkeit des Publikums auf Musik zu lenken, die in Momenten entstand, in denen sich Menschen in Vergangenheit und Gegenwart nicht in einer Demokratie, nicht in Freiheit befanden. Die meisten Stücke auf dem dritten Projektor-Album, das den Titel Revolt trägt, speisen sich aus Liedern, die in Iran und Estland entstanden sind und während der Aufstände gegen das sowjetische Regime beziehungsweise die Islamische Republik gesungen wurden. Das Zusammenspiel der fünf Musiker:innen hatte schon auf den beiden Alben "Reflex" (2021), sowie auf "Re|Construct" (2023) etwas traumwandlerisch-sicheres. Johanna Summer, Johannes Mann, Roger Kintopf und Philip Adrian Dornbusch organisieren sich um meist vom Saxophon Dornbuschs getragene Melodien und Themen, weichen ab und kehren wieder zurück, um ein anderes Instrument, eine andere Idee, eine andere Klangfarbe in den Vordergrund treten zu lassen. Dieses Zusammenspiel hat auf Revolt das nächste Level erreicht.

RARE & PREV. UNRELEASED PSYCH-FUNK AND GARAGE ROCK !!!

Say hello to Down & Wired Vol. 7 as Perfect Toy Records unleashes yet another instalment in its long-running compilation series! Once more, the label provides a delectable selection of obscure funk and soul-influenced psychedelic and garage rock tracks to delight even hardcore collectors of both genres.

And make no mistake, there is plenty to discover among these eleven tracks. At the funkiest end of things, Function's Free Style morphs from West Coast psychedelia to country funk to swamp rock and back again in its sub-three minute length, Dandy King provide psychedelic funky-soul and The Whiz Kids take a heavy dose of funkiness with them into psych-rock territory – sample fiends watch out for the fat twenty-second drum break towards the end of the latter! Purer psychedelia can be found in the offering from Third Stone while Würzburg band Prisma provide all-out epic psych-rock carnage. And if rock carnage is your thing, you'll be feeling the dirty garage rock onslaught of The Comin' Generation and a previously unreleased cut by Synod - soon to be a 45 single on Perfect Toy. That just leaves The General Store, The Soul Society, The Vestells and another unreleased cut from The Villagers (from whom the label will be dropping more unreleased material soon!), to close the circle by adding a heavy dose of garage soul.

A worthy successor to the previous volumes, Down & Wired Vol. 7 is once again accompanied by an insert containing detailed information and photos of the bands and a download code is also included with every vinyl LP.

Liquid Liquid loom large for many - their classic run of EPs on 99 Records has gotten a second, third, and fourth life thanks to devout fans like the Beastie Boys, LCD Soundsystem's James Murphy, and Domino's Laurence Bell. (This to say nothing of the fact that one of rap's all time classics - Melle Mel's "White Lines" - is based around their song "Cavern.) This new double a-side single from Murphy's own DFA features a torrential version of "Bellhead" he co-produced in 2004 alongside a completely new version of the Liquids classic "Optimo" by Glaswegian party crew Optimo (Espacio).

Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus. (Limitiertes) Pink farbenes Vinyl mit DLC sowie Digisleeve-CD!

Ursprünglich im Januar 2015 erschienen hat ‚Curse Of The Damned‘ – nach der selbstbetitelten Debüt-EP von 2012 – den charakteristischen Night
Demon-Sound endgültig manifestiert. Die Scheibe löste eine geradezu fanatische Begeisterung der Heavy Metal-Anhänger aus, erntete überall
großartige Presse-Echos und wurde von den Hörern der WCJU-Radioshow ‚Metal on Metal‘ in Cleveland, Ohio zum besten Album des Jahres 2015
gewählt. Um das Werk angemessen zu promoten, tourten Night Demon fast zwei Jahre lang auf beiden Seiten des Atlantiks sowie in Mexiko,
Lateinamerika und Südamerika. Mit jeder weiteren Tournee hat sich der Ruf von Night Demon als grandiose und überaus explosive Live-Band, die
man unbedingt gesehen haben muss, ebenso rasant vergrößert wie die Zahl ihrer Fans. ‚Curse Of The Damned‘ umfasst viele Songs, die bis heute
fester Bestandteil ihres Live-Sets sind, darunter ‚Screams In The Night‘, ‚The Howling Man‘ und ‚Heavy Metal Heat‘ sowie ebenso beliebte,
eindringliche Stücke wie ‚Mastermind‘, ‚Satan‘ und ‚Save Me Now‘.
Auf der 2024er Deluxe Edition von ‚Curse Of The Damned‘ findet man das komplette Originalalbum, neu remastert von Night Demon-Gitarrist
Armand John Anthony. Sie enthält zusätzlich einige Bonustracks aus unterschiedlichen früheren Editionen, wie etwa die Coverversion von Riots ‚Road
Racin`‘ und eine Neuaufnahme des Night Demons-Klassikers ‚The Chalice‘ mit dem prägnanten Titel ‚The Chalice ´15‘.

Ursprünglich im Januar 2015 erschienen hat ‚Curse Of The Damned‘ – nach der selbstbetitelten Debüt-EP von 2012 – den charakteristischen Night
Demon-Sound endgültig manifestiert. Die Scheibe löste eine geradezu fanatische Begeisterung der Heavy Metal-Anhänger aus, erntete überall
großartige Presse-Echos und wurde von den Hörern der WCJU-Radioshow ‚Metal on Metal‘ in Cleveland, Ohio zum besten Album des Jahres 2015
gewählt. Um das Werk angemessen zu promoten, tourten Night Demon fast zwei Jahre lang auf beiden Seiten des Atlantiks sowie in Mexiko,
Lateinamerika und Südamerika. Mit jeder weiteren Tournee hat sich der Ruf von Night Demon als grandiose und überaus explosive Live-Band, die
man unbedingt gesehen haben muss, ebenso rasant vergrößert wie die Zahl ihrer Fans. ‚Curse Of The Damned‘ umfasst viele Songs, die bis heute
fester Bestandteil ihres Live-Sets sind, darunter ‚Screams In The Night‘, ‚The Howling Man‘ und ‚Heavy Metal Heat‘ sowie ebenso beliebte,
eindringliche Stücke wie ‚Mastermind‘, ‚Satan‘ und ‚Save Me Now‘.
Auf der 2024er Deluxe Edition von ‚Curse Of The Damned‘ findet man das komplette Originalalbum, neu remastert von Night Demon-Gitarrist
Armand John Anthony. Sie enthält zusätzlich einige Bonustracks aus unterschiedlichen früheren Editionen, wie etwa die Coverversion von Riots ‚Road
Racin`‘ und eine Neuaufnahme des Night Demons-Klassikers ‚The Chalice‘ mit dem prägnanten Titel ‚The Chalice ´15‘.

Als ‚Darkness Remains‘ im April 2017 das Licht der Welt erblickte, verstummten schlagartig sämtliche Spekulationen über einen eventuellen
Qualitätseinbruch bzw. einem vermeintlichen Status als Eintagsfliege. Denn auch ‚Darkness Remains‘ lieferte den erhofften NWOBHM-inspirierten
Nervenkitzel und begeisterte die Night Demon-Getreuen. Gleichzeitig wagte sich die Scheibe einen mutigen Schritt vorwärts, da die Musiker ihre
Songwriting-Fähigkeiten verfeinern, einen noch individuelleren Sound entwickeln und ihre Waffen schärfen konnten, um bewusst ein paar
kompositorische Risiken einzugehen. Mit der fabelhaften Single ‚Welcome To The Night‘ und dem dazugehörenden Videoclip startete auch ‚Darkness
Remains‘ als Album, das zahlreiche Publikumslieblinge und Live-Set-Klassiker umfasst, wie etwa ‚Dawn Rider‘, ‚Black Widow‘, ‚Hallowed Ground‘ und
der rasante Titeltrack ‚Darkness Remains‘. Das Album katapultierte Night Demon sowohl künstlerisch als auch kommerziell auf die nächste
Entwicklungsstufe und war ein entscheidender Meilenstein in der Karriere der Band.
Die 2024er Deluxe Edition von ‚Darkness Remains‘ umfasst das Originalalbum in voller Länge, aufgewertet durch ein neues Remastering von Night
Demon-Sechssaiter Armand John Anthony. Als zusätzliche Extras gibt es einige Songs, die bislang nur als territorial limitiertes Bonusmaterial früherer
Albumversionen zu finden waren, darunter Queens ‚We Will Rock You‘ und eine kraftvolle Version von Black Sabbaths ‚Turn Up The Night'.

Nach dem Erfolg ihres Debüts „Digital Mountain“ aus dem Jahr 2018 wird nun das mit Spannung erwartete zweite Album von Nice Biscuit, SOS, über
Bad Vibrations veröffentlicht.
Geschrieben und aufgenommen während 2022-23 und abgemischt von Mildlife's Jim Rindfleish, verkörpern die neun Tracks auf dem Album den fuzzy
groove-geladenen Psych, für den Nice Biscuit bekannt ist, während es neue tanzbare Gefühle einführt, die von ihrer Liebe zu Disco, Jazz-Fusion und
Weltmusik beeinflusst sind.
Mit dem wunderbar hypnotischen und beruhigenden Gesang der Frontfrauen Billie Star und Grace Cuell geht es auf SOS darum, Ruhe und
Ausgeglichenheit in unserer chaotischen Welt zu finden.