Decide ist das zweite Studioalbum des amerikanischen Schauspielers und Singer-Songwriters Joe Keery unter seinem Pseudonym Djo.
Das Album des Stranger Things-Stars wurde bereits 2022 veröffentlicht, erlebt aber aktuell einen zweiten Frühling aufgrund des TikTok-Hypes um den
Song "End of Beginning". Das Album ist bereits sehr mehreren Wochen in Albumcharts vertreten, End Of Beginning ebenfalls seit mehreren Wochen
in den Singlecharts.
Großartig zu sein ist eine Sache, aber lange Zeit großartig zu bleiben eine andere. X waren siebenundvierzig Jahre lang großartig und haben mit sieben Alben zwischen 1980 und 1993 ihre Legende als eine der originellsten Punkbands Amerikas aufgebaut. In diesem Sommer wird ihr letztes Album Smoke & Fiction veröffentlicht. Wie Alphabetland (2020) hat Smoke & Fiction die Wut und den Spaß, den man von X erwartet. Es ist eine Abschiedsrunde mit Tracks wie "Big Black X", die ihre Reise reflektieren.
Russell County, Virginia-based 49 Winchester is following up their 2022 breakthrough hit, Fortune Favors The Bold with their latest album, Leavin’ This Holler. Since their last release in 2022 the band has mined success across the globe by playing multiple sold out tours in the US as well as a sold out run of arena concerts opening for Luke Combs across Europe. Crowds have celebrated and supported this band across the globe and the band’s hard workin ways continue to help build their devoted following. Leavin’ This Holler is a soulful anthem of liberation and renewal. The album narrates a journey of breaking free from the chains of the past to pursue happiness and freedom. With a resolute spirit and a clean washed heart, 49 Winchester embraces change and sets out on a quest for new heights. Fortune has favored these bold boys and fueled by determination and the promise of a bright future, ‘Leavin’ this holler’ is a powerful ode to resilience and the pursuit of personal fulfillment.
Russell County, Virginia-based 49 Winchester is following up their 2022 breakthrough hit, Fortune Favors The Bold with their latest album, Leavin’ This Holler. Since their last release in 2022 the band has mined success across the globe by playing multiple sold out tours in the US as well as a sold out run of arena concerts opening for Luke Combs across Europe. Crowds have celebrated and supported this band across the globe and the band’s hard workin ways continue to help build their devoted following. Leavin’ This Holler is a soulful anthem of liberation and renewal. The album narrates a journey of breaking free from the chains of the past to pursue happiness and freedom. With a resolute spirit and a clean washed heart, 49 Winchester embraces change and sets out on a quest for new heights. Fortune has favored these bold boys and fueled by determination and the promise of a bright future, ‘Leavin’ this holler’ is a powerful ode to resilience and the pursuit of personal fulfillment.
As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.
Eight no-nonsense tracks, straight to the point. Moroka delivers the goods in this raw, unpolished gem of a release. Constructed in a week at home in Loughborough Junction after a conversation with FG boss Alex - these cuts are all about the energy, no time wasted on refinement. The drums rumble and shuffle, crashing into each other with an unpredictable rhythm that keeps you on your toes. The narrative here is simple: Mo, his neighbourhood, and his gear.
Early support and plays from Shy One, Scratcha DVA, D Bridge & Mr Beatnick.
Photography by Charlie Birch, design by Alex Horne, tape covers riso printed at Terry Bleu, Amsterdam.
First Word Records is proud to bring you 'Resonance'; a full-length album from Essa & Pitch 92. A lyricist, lawyer and a Londoner, Essa initially released music under the name Yungun in the early noughties, in the midst of UK hip hop's own "golden era". He earned praise from artists such as Nas and Mark Ronson, and performed and recorded with such luminaries as De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch. His classic debut album 'The Essance' originally dropped whilst he was at law school, 20 years ago (which was recently given a full re-issue on First Word). This was followed with a collaborative album with DJ Mr Thing ('Grown Man Business'), then some years later with 'The Misadventures of a Middle Man' in 2014. Essa also released a track on Juneteenth 2020 entitled 'Justice', as a powerful reaction to George Floyd and the BLM movement. It saw support from the likes of Gilles Peterson, and raised money for an assortment of access-to-justice organisations. ...
Sonne
Das Album besticht durch eine Klarheit, die das Licht auf so wundervolle Weise einfängt. Auf Schillers Sonnenreise lassen sich wieder besondere Klang-Horizonte entdecken. Überraschende Gastkünstler, bewegende Kompositionen. „Jedes Album ist wie eine neue Reise. Ich lasse mich gerne überraschen – von der Anmut
dieser Welt und von den Menschen, die ich unterwegs treffe“, sagt der Musiker und Komponist Christopher von Deylen, der sich hinter dem Künstler Pseudonym Schiller verbirgt. Fast 12 Jahre später erscheint dieses große Album endlich als auf 1000 Stück limitierte Vinyl-Neuauflage im farbigen 2LP Format, welche nicht nur Musikfans, sondern auch Plattenliebhaber begeistert, die mehr wollen als eine rein digitale Version. So kommt das Album auf zwei transparent-roten Vinylscheiben und rundet somit das Gesamtkunstwerk auf ansehnliche Weise ab!
Sonne (Chill Out Edition) Schon das Vorgänger-Album Sonne galt als absoluter Fan-Liebling, nach Erscheinen der Sonne (Chillout
Edition) lässt sich feststellen, dass diese Variante dem Original Sonne Album in eigentlich nichts nachsteht. Schiller ist wie immer für eine Überraschung gut und hat mit dieser Sonderedition seine ruhige
und träumerische Seite gezeigt. Nun erscheint diese einzigartige Zusammenstellung als Vinyl Neuauflage!
Die Sonne (Chillout Edition) 2LP Version ist auf 1000 Stück limitiert und ist nicht nur klanglich etwas
Besonderes, sondern macht als transparent-türkisfarbene Doppelvinyl auch optisch so einiges her!
Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff
British-Trinidadian poet/musician/author Anthony Joseph’s latest album was inspired by and echoes the fertile London scene. Anthony has surrounded himself with some of the best musicians on the local scene, including Jason Yarde, Shabaka Hutchings (Sons Of Kemet, The Comet Is Coming), Crispin Robinson (founder of the iconic acid jazz band Galliano,) and Rod Youngs (Gil Scott Heron’s drummer). Operating as a dedication to poetic ancestors and a coming together of musical generations, ‘The Rich are Only Defeated When Running for their Lives’ is also an almighty jam. Recorded live in August 2020, it shows off the prowess of a team of master musicians from Paris and London. Jason Yarde, who also produced Joseph’s 2018 album ‘People of the Sun’ is credited as producer/ composer/arranger - to startling, albeit intimate, effect. Running throughout the release are inter-connected themes: memory, place, belonging and acts of homage. Anthony Joseph has released seven previous albums - six on Heavenly Sweetness - and collaborated with Archie Shepp, Keziah Jones and Meshell Ndgeocello who produced his album, ‘Time’ in 2014. He is the author of four poetry collections and three novels. His 2018 novel Kitch: A Fictional Biography of a Calypso Icon was shortlisted for the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and long listed for the OCM Bocas Prize for Caribbean Literature.
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This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.
The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.
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Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.
After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.
In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.
The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.
Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.
Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.
The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.
The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.
"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.
“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.
“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.
“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.
“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.
The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).
What the experts are saying:
“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA
“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC
All songs written by Alex Figueira.
Arranged and performed by Conjunto Papa Upa.
Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.
40th anniversary edition of this seminal work by the multi-talented musician and producer Carlos Perón. After the release of “Impersonator” and the score of the film “Die Schwarze Spinne”, “Nothing Is True; Everything Is Permitted” is his third album released in the beginning of 1984. While still being an active member of Yello, it was around the start of the recording of “You Gotta Say Yes To Another Excess” that Carlos met the American musician Chris Lunch in Hamburg. He invited Chris to Zurich and together played with projects such as Romantic Rubber, Heavymetallen and recorded some sessions that become the basis of “Nothing Is True; Everything Is Permitted”. After the release of “You Gotta Say Yes To Another Excess”, Carlos decided to leave Yello and focused to finish the recording and mixing of his new solo album.
“Nothing Is True; Everything Is Permitted” has gone down in music history as a dark soundtrack without a film, influenced many artists and helped to develop diverse genders of electronic experimental and dance music.
Limited edition of 300 copies including all original tracks and new artwork.
This feels deliciously fated. Musical soulmates, Cromby is the only person Sally C will go record shopping with. The duo minted their friendship back in 2016, not long after both migrated to Berlin. A friendship forged through shared dancefloors, long hours at the pair’s beloved Bikini Waxx and impromptu B2B sessions, they have a common passion for good times and serious digging. If you want a sense of the genesis of Sally’s label baby Big Saldo’s Chunkers, just listen to the cult-favourite ‘Big Saldo & Cromby Dusty Hip Haus Mix’ that’s lived on her Soundcloud since 2019.
Cromby knows a Chunker that’s for sure. His contribution to the label is elite. Rinsed by the pair all year, it’s supports also include Job Jobse and Bambounou. In January it highlighted Nachtiville, where it was played all weekend long and became an unofficial hype anthem of the festival. A fiercely hunted track I.D ever since, lock this in as one of those catchy Crombyclassics we all love and can’t stop playing (and singing). ‘Pump It’ is an atmospheric roller, a perfect cut for maintaining the energy after the hands-up vibes of ‘House Flava’. ‘Free’ features Cromby’s own vocal debut – “I didn’t realise at the time of writing how fitting the lyrics would be for our times unfortunately,” he shares. Driven by punchy purring bass, it brings plenty of rugged energy with 303 flourishes, while dreamy keys balance things nicely. One for the after-hours.
The EP is rounded out with the wicked hoover-led ‘Best Not Miss’, that transports us back to a steaming Trade dancefloor circa 1997 and is thrilling in every sense.
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Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”
Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”
Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.
Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.
‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.
• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era
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Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. This release marks an evolution in Strut's approach to compilations, showcasing emerging DJ talent from across the world and embracing an innovative approach to musical discovery from the next wave of selectors. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day.
Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”
The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.
‘A Dancefloor In Ndola’ is released on 2LP and CD and features exclusive new edits by Kampire alongside personal liner notes tracing her links to the music. Cover artwork montage is by Canon Rumanzi and vinyl restoration / mastering by The Carvery
Debut compilation by one of East Africa’s leading new generation DJs, Kampire.
Mix of African classics and rarities spanning 1970s – 1990s from Congolese soukous, South African bubblegum and Zambian kalindula.
Shining the spotlight on women in African music Pembey Sheiro, Feza Shamamba and Princesse Mandisa M’bila.
Exclusive cover artwork collage by Canon Rumanzi.
Worldwide DJ dates supporting release during Summer and Autumn 2024.
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Filipovich is one of a kind. The Belarus-born, Paris-based artist works in a multitude of media - found footage films, painting, silkscreening and performance to name a few. It's her musical output that has caught the attention of late, though, with Filipovich dropping a run of releases in recent years which began with 2021's Magnificat on Time Released Sound. Filipovich takes as much of a novel approach to her music-making as she does with her other artistic endeavours - Magnificat was centred around treated samples of Sergei Rachmaninov's All-Night Vigil, and she's also combined classical composition with contemporary electronic techniques on her subsequent drops.
For Idealized, Filipovich's debut on Sheffield's Central Processing Unit, she maintains the gothic air which characterised her previous releases and applies it to a record of widescreen contemporary techno joints. These tracks represent something of a gear shift for CPU, a label which has long made its name by delivering top-quality electro and machine-funk jams, but such is the quality of Idealized that these superbly-executed techno productions are sure to win over label fans both old and new.
Idealized is very much schooled in the German tradition of minimal/dub techno. Tracks like 'Physical', 'Wave' and 'Dance Minor' all anchor themselves on single, steady drum pulses and delay-drenched single-chord loops. Filipovich generally lets the central idea of these tracks play out across several minutes while introducing increasingly disorientating elements into the rest of the mix - wiccan atmospherics, clashing chords, spiralling delays and so forth. It's an approach at once respectful of Filipovich's predecessors - Basic Channel, Deepchord, Ellen Allien and so on - but also full of idiosyncrasies and individuality.
Many of the club cuts here hardwire us into the moody, murky environs of the darkest Berlin Basements. 'Ultra Red' rides forward on a crisp drum machine snap, a menacing burble of bassline and an eerie single-note synth whistle in the upper end of the mix; 'Dance Minor' shows off a bit of KiNK in the brain-bending modular loop that waxes and wanes at its centre; the second-half run from 'Wave' to closer 'Small Cave' travels ever-further out into deep space - the kick drums remain insistent, yet the textural elements are delivered with an edge and flair that evidences Filipovich's ability to think outside the box.
Filipovich's unusual methods, and the influence of sound art and electroacoustic composition on her music, are drawn out further when Idealized steps away from the dancefloor. 'Hydra' comes off like a more gothic version of Pole - its central pulse draws from dub techno but never quite settles into a danceable groove, and this beat is combined with the kind of unnerving keyboard work that would make John Carpenter proud. Although closer 'Small Cave' eventually locks into another dark-room techno roller, the opening section of the track delivers a weightless soundscape of bright, tinny chords and a scene-setting field recording.
Idealized, the first drop on Central Processing Unit from Paris-based Belarusian Lina Filpovich, broadens the label's horizons with a selection of finely crafted minimal/dub techno joints.
RIYL: Andy Stott, Deepchord, Ellen Allien, Moritz von Oswald
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Last delivered 15 months ago available to reorder, subject to availability
In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"
Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.
Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.
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Pascal Gaigne, born in France in 1958 and installed in San Sebastian since 1985, is a musician with a vast trajectory composing music for films. He has composed for more than 50 movies, won 16 awards (including a Goya award, Spanish Oscar equivalent) and had 15 nominations. He has worked with some of the most interesting new directors in Spanish cinema (Víctor Erice, Icíar Bolláin, Salvador García Ruíz, Daniel Sánchez Arévalo, Montxo Armendáriz), and foreign directors like France (Le cou de la girafe), Finland (Matka Edeniin) or Cuba (Omerta).
Early in his career, before working in cinema, he collaborated with some of the most interesting artists and voices in the short history of Basque folk music, including well known Amaia Zubiria (check the two records he made with her “Egun Argi Hartan” & “Kolorez eta Ametsez”), as well as Basque traditional chant avant-gardist Beñat Achiary. It is together with Amaia & Beñat that he paired himself up to create “music pour le ballet du Iguzki Hauskara”, an entire album of compositions made for the 80’s French Basque Ballet group “Ekarle”. Originally released on cassette only in 1984, it is now reissued by Hegoa including three unreleased pieces taken from a second album that was never published.
Limited edition of 250 black vinyl LP’s housed in a coloured reverse board cover recreating the original hand painted artwork.
Isaac Helsen and Zach Frizzell, the unfathomably prolific ambient producer known as zake, have been collaborating together again. They both run the Past Inside the Present label and despite great musical kinship have only put out two records to date: beliefsystems in 2021, and Atonements earlier this year, which first came on Zake Drone Recordings and now gets a cassette reissue on Past Inside the Present. It's a gorgeously hazy analogue affair made with a reel-to-reel and Korg Minilogue. "This album embodies the theme of letting go and moving forward with acceptance," they explain, and what a beauty it is too.
Even as a relatively new face on the scene, Boaksi, isn’t a stranger to longer format releases. The budding Zurich based producer made a splash with his first two releases “Under The Pavilion'' and "I Thought It Was Yesterday” which featured remixes from Soela, Louf and Al Zanders. Now he debuts on Seb Wildblood's all my thoughts label with a 4 track emotionally visceral EP titled Keep Movin’.
The title track, "Keep Movin'," takes a dynamic approach, layering creamy pads and impactful percussion with subtle dub techno influences that create a refreshingly deep groove, propelling a carefully positioned vocal sample into the forefront.
“Didn't I", leads with a beautiful, progressive melody that evokes a sense of yearning, and the ever-relatable Romanticism of the club. Delicately triggered chords dance off the wonderfully unpredictable drum patterns, while Boaksi's minimalist vocals add a touch of human emotion.
"Running Out Of Time" takes a more introspective turn, featuring distant, detuned textures that set the stage for a bed of soft, distorted pads. Stripped-back percussion allows the climbing arpeggios to take centre stage, building to a cleansing break that allows the atmosphereto expand before settling back into a warm, percussive groove.
The EP closes with "Wanna Be With You," another emotionally intelligent piece that showcases Boaksi's
prowess for crafting captivating soundscapes. Elemental drums and breathtaking, climatic chords provide the foundation for a beautifully free-forming synth arpeggio that flutters playfully around an unforgettable vocal hook.
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140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire
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Sunny Crypt is incredibly happy to announce its seventh release: a retrospective compilation of six previously CD-only tracks by Nightmare Lodge, a name that might ring the bell to many enthusiasts of Italian experimental music.
It Passed Like A Dream is a selection of some of our favourite tracks they released between 1994 and 2000, aiming to spotlight a small glimpse of the amazing body of music they did throughout the years.
Nightmare Lodge is a musical project by Minus Habens Records / Disturbance founder Ivan Iusco alongside vocalist B. Mazzilli and bass player Gianni Mantelli, when the Bari based trio decided to decided to embark on a path in search of their own dreamlike musical dimension tied to introspective explorations.
Over the years, the group's lineup evolved, eventually solidifying as a duo comprising Iusco and Russolo.
With their first release dated 1987 and staying active till the early 2000s, it is quite challenging to put the Nightmare Lodge discography in a precise musical box. Their first outings flirted with post-industrial music and a more stripped down sound palette marked by a DIY approach to composition, while in later years leaning towards a more horroresque / cinematic feeling and following the development of new technologies but always charactering their output with a ritualistic, trance inducing and mystical approach, whatever if it’s ambient, downtempo, techno not techno, or a whole lotta else...
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Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.
Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE
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Diego Ruiz, aka DFRA, is an Argentine music producer very active in the last five years with several productions in the underground deep house scene. Now he's definitely setting the bar at the highest level with this project. He's introducing a full band of musicians with jazzy roots, and the result is a four-track EP that's a clear fusion of how jazz and electronic music merge in a unique way. It incorporates classic Deep House and House sounds plus the fusion of Modal Jazz, Bebop, and Hard Bop style melodies.
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The hypnotic folk music of the Ainu a cappella group Marewrew has received the first of two remix treatments by Pingipung artists. Part 01 is by Andi Otto and M.RUX.
Andi Otto was the curator of the Marewrew album for Pingipung, released earlier in 2024. He selected gems from their archive for the "Ukouk" LP. His remix pays homage to the frenetic vocal dynamics of the round canon Sikata Kuykuy. Beginning with a stubborn piano beat, it's the bass clarinets that sit in sync with the vocals that make this dance track so charming. Bonus fact: they're played by Pingipung co-founder Heiko Gogolin - his first outing on the instrument for his own label.
M.RUX's take on Etukuma Kara is playful and groovy. Many will remember his legendary 2018 remix of Umeko Ando (Iuta Upopo), which marked Pingipung's first involvement with Ainu traditional music from northern Japan. His reworking of Marewrew's vocal music blends elements of various tracks with his own percussion, and the result is nothing short of spectacular.
The two tracks will be released on 7" vinyl.
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White w/ Red Splatter Vinyl. For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.
This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer
Torae and Marco Polo return with their sophomore release, Midnight Run, the follow-up to their classic debut album Double Barrel. Midnight Run packs 11 tracks that will instantly satisfy fans of the elite lyricism and hard-hitting production the duo is known for. The intro, “Reloaded,” sets the tone from the very beginning, and stand-outs such as “The Return,” “Makin’ Up,” and “Oh No” maintain the momentum throughout. With no guest verses, no bars off, and no filler, Midnight Run gets directly to what you’ve been waiting for from the “Gray Sheep,” Torae and Marco Polo.
180g, red marble vinyl. This album features Babe Ruth's iconic LIVE performance in Montreal on April 9th, 1975, featuring 4 out of the 5 original band members in their prime. With every track, the band's unparalleled musical craftsmanship takes center stage, showcasing their ability to blend rock, jazz, and Latin influences into a unique auditory experience. The collectible status of this record makes it a must-have for any aficionado of classic rock. So, immerse yourself in the cool, creative vibes of "Babe Ruth - Live in Montreal April 9th, 1975," and let the transcendent sounds of a bygone era enchant your modern soul.
180g, red vinyl. This album features Babe Ruth's iconic LIVE performance in Montreal on April 9th, 1975, featuring 4 out of the 5 original band members in their prime. With every track, the band's unparalleled musical craftsmanship takes center stage, showcasing their ability to blend rock, jazz, and Latin influences into a unique auditory experience. The collectible status of this record makes it a must-have for any aficionado of classic rock. So, immerse yourself in the cool, creative vibes of "Babe Ruth - Live in Montreal April 9th, 1975," and let the transcendent sounds of a bygone era enchant your modern soul.
After scoring a surprise hit in 2006’s red-hot 7” funk market with their cover of “C.R.E.A.M.,” El Michels Affair quickly turned around another smash 7” double-single of re-imagined takes of the Wu-Tang Clan. “Duel of the Iron Mics” sees the hypnotic piano hook of the “Liquid Swords”-classic elevated to intriguing heights with dramatic strings and Catch the blast of a hype version on the b-side, where “Bring Da Ruckus” is brought to life in imaginative ways not hinted at on the bulletproof original. The raw sample stabs and sub-bass of the stripped-down Wu-Tang stunner are replaced with mind-bending bass notes, and the re-played organ hook turned way up.
Both of these tracks would eventually feature prominently on El Michels Affair’s landmark LP “Enter the 37th Chamber,” celebrating its 15th Anniversary in 2024.
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David Bowies bahnbrechendes Debütalbum erlebt mit einer Neuauflage ein pulsierendes Revival und bietet exklusive Tracklisten, die alte und neue Fans begeistern werden.
Kritiker der damaligen Zeit äußerten sich wie folgt: Der NME lobte Bowies frischen Sound als „durch und durch sehr erfrischend“ und pries ihn als „ein sehr vielversprechendes Talent“. Melody Maker lobt das Album als „eine außergewöhnlich lohnende Sammlung“ mit „exzellenter“ Produktion und zeigt sich überrascht, dass Bowie die Popszene noch nicht stärker beeinflusst hat. Disc & Music Echo schwärmt unterdessen von dem Album, beschreibt es als „ein bemerkenswertes, kreatives Debütalbum eines 19-jährigen Londoners“ und bezeichnet Bowie als „ein neues Talent, das Aufmerksamkeit verdient“. Mit solch aufschlussreichen Kritiken verspricht diese Neuauflage, Bowies frühes Erbe wiederzubeleben und sein visionäres künstlerisches Schaffen einer neuen Generation von Zuhörern vorzustellen.
The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound.
Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound.
This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now! "
“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.
In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.
