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Bevor Kelly mit der Arbeit an seinem dritten Album begann, zog er aus seinem Haus in Nashville aus und in einen alten viktorianischen Bungalow in der Kleinstadt Portland in Tennessee. Dort verbrachte
er monatelang in bewusster Einsamkeit, um eine Reihe von lebensverändernden Veränderungen zu verarbeiten, die er im vergangenen Jahr durchgemacht hatte, darunter eine sehr öffentliche Scheidung sowie große Umwälzungen in seiner unmittelbaren Familie.

”Ich hatte das Bedürfnis, mich selbst besser zu verstehen und das wahre Fundament meiner Person wiederzuentdecken”, sagt Kelly, der auf seinem 2018 erschienenen Debütalbum Dying Star offen über
seinen Kampf mit der Drogensucht berichtet hat. Indem er die selbstbewusste Wahrheitsfindung, die er schon immer in seine Musik einfließen ließ, weiter vorantreibt, vertiefte sich Kelly schon bald in die Arbeit an The Weakness, und das Ergebnis ist ein unglaublich ehrliches, aber zutiefst hoffnungsvolles Album, das letztlich unser enormes Potenzial offenbart, aus den schmerzhaftesten Erfahrungen Kraft und Schönheit zu schöpfen.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

French Montana and Harry Fraud reunited to drop one of 2022’s best rap albums. Now they are kicking off 2023 with the release of a vinyl drop of their critically acclaimed Billboard charting album. Peaking at #46 on the Billboard 200 US Chart, Montega delivers what Rolling Stone calls a “delectable array of nouveau boom-bap samples and introspective rhymes that don’t make any obvious concessions to the mainstream.” Entirely produced by Harry Fraud with features from Babyface Ray, Benny The Butcher, Chinx, Est Gee, Fleurie, Jadakiss, Quavo & Rick Ross.

green marbled vinyl

Paul 'Damage' Bailey, one of the original resident DJs at Birmingham's House Of God club nights along with Surgeon and Sir Real, strikes back on De:tuned with 2 new relentless techno cuts. On offer, a mind-bending modular exploration that takes no prisoners from the Brummie powerhouse accompanied by top drawer remixes. James Ruskin transforms 'Hadal Zone' into a rare darkroom electro orientated piece, while Makaton turns out a deep pulsating 4/4 techno version of 'Decompression'. It's a real burner.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

A1 - French artist aka Dylan Dylan hits first on the record with energetic groove, breaks and deep synths - that's how we do it!

A2 - HATT.D is a Belgian music maker. A truly moving track with a soothing bass and both broken and straight rhythms. The tune may conjure up images of tropical flora and fauna.

A3 - Dawn Again, a faraway Australian artist, hits with the charming track “I’m Like a Bird" - a minimalistic style house tune with catchy rhythms.

B1 - Manhood is a collaboration of two Russian artists, Denis Kazakov and Lachetto.
The boys wrap us in delicate breaks with cosmic sounds, as if to remind us that we are not alone in this universe.

B2 - German musician Palmate continues the vibe with his dreamy and slightly lo-fi deep house "departure," which sounds like you're going home with happy recollections after a fantastic time with old friends.

B3 - The conclusion of this story will be presented to us by Dj Bigspin, a musician originally from France who now lives in Copenhagen.

He reminds us with his melancholic deep acid hous

The UK Electro duo Transparent Sound reissue the infamous Slang City EP.

Long before electro returned to prominence Transparent Sound were serving up world class must-check slabs of body-popping electronic brilliance.

In fact, Transparent Sound are now approaching the third decade of continuous releases and and yet remain more current now that ever with releases lined up with Tresor, Pressure Traxx, John Selways - Serotonin and various others in the pipeline along with clusters of live sets and Dj gigs around Europe and US lined up this year.

It seems Orson Bramley the original founder of Transparent Sound one of the UK longest running electro acts is unstoppable.

Grey Marbled Vinyl

The charm of exploration leads to cinematic echoes that fuse rattling break drums and synergetic nuances, creating a sphere of ancestral musical paths in which a poly-form stylistics gives a recognisable imprint to 'Foreshadow', Marco Bruno's new album that embarks on a new sonic exploration and delves into the meanders of research with an abysmal attention to detail, a significant project in the evolution of the artist and his Evighet Records label.

For this release, two veterans such as James Ruskin and Mark Broom, with their alias The Fear Ratio, set in time their experience, masterfully reinterpreting that pivotal feeling of free expression that reigns at the heart of the project.

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

As WIGAN CASINO celebrates its 50th Anniversary you may be forgiven for thinking that those hallowed All-Nighters are but a fading memory from a time passed by. That couldn’t be further from the truth! The impact that it had on the thousands that attended the regular Saturday night gatherings was profound. The spirit of the Casino lives on in the hearts and souls of the faithful and is honoured by the multitude of Soul Nights, All-Nighters, All-Dayers and Weekenders up and down the country throughout the years. Gone, but not forgotten!

The term “Northern Soul” was coined a few years before the inaugural All-Nighter at Wigan Casino – 23rd September, 1973 – but it certainly came of age during its unprecedented eight year reign. It is also encapsulated in the three songs featured here that, collectively, became known as the “Three Before Eight”. The last three records played every Sunday morning, signalling the end of the all-night session.

This special edition anniversary release features all three legendary tracks, and for the first time, sequenced in the same running order as they were played.

Michael Schenker, ein künstlerisch rastloser Mensch, der sich und seine Musik immer neu definiert. Ein
Ausnahmemusiker voller schöpferischer Kraft, Dynamik und Ideen. Mit „Rock Machine“ erscheint nun ein
Best of Album, welches Studio- und Liveaufnahmen beinhaltet sowie eine stattliche Anzahl von Gastmusikern (Don Airey, Gary Barden, Francis Buchholz, Wayne Findlay, Chris Glen, Neil Murray, Simon Phillips,
Herman Rarebell, Elliott ’Dean’ Rubinson, Chris Slade) vorweisen kann. Jetzt als strikt limitierte LP in
schwarzer Vinyl-Farbe erhältlich.

Frankfurt's celebrated producer, Philip Lauer returns to Especial, this time teaming up with Berlin based vocalist Dena for a special collaboration, covering Julie Stapleton's soulful House classic with a modern interpretation across a number of versions (vinyl and digital).

After the success of the Hotel Lauer EP on Especial way back in 2016, Lauer has continued his ascendency with albums for Permanent Vacation and Running Back, as well as releasing a string of sure-fire, dancefloor friendly EPs for the likes of Cin Cin, Futureboogie and Skatebard's Digitalo Enterprises.

Born and raised in Bulgaria, before making the move the music mecca of Berlin, Denitza Todorova has a carved a path with her electronic, dance pop stylings across releases for the likes of K7 and Kitsune Music. First appearing on Make It Stay from Lauer's last album, it jumped out as the perfect partnership to bring the raw, soulful and uplifting sounds of the cult V4 Visions label up to date. Founded by Alex Palmer, the label was part of the UK's early 90s club sound, releasing street soul, deep house and more, in Where's Your Love Gone, Palmer and 18-year-old writer/vocalist Julie Stapleton hit on the perfect marriage of Lovers Rock and Street Soul yearning with the haunting sounds of US House. Presented as a new take on the classic, but with utmost respect, the EP starts with the Club Mix, a Larry Heard bassline joins a marimba melody, lifting Dena's vocals of youth's lost love and pain. This is followed by the Demo Mix, a warm, beautiful string laden original take that Lauer and the label felt had to be included.

DJ Slyngshot is welcomed to provide a deep, tech remix. A name to watch via his releases on his YAPPIN label and recent EP for Workshop, his remix is an analogue twist of hypnotic, raw dub techno percussion and counter breaks builds as string and piano join. The EP ends in the Synthapella, as bongos, cowbell and whistle are added to create a drifting Balearic version for late summer nights and dawn that highlight Dena's vocals in a 'sunrise' light.

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.

The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.

"We've now been at this since 2010 and over the years we've really tried to deliver the kind of house music (and beyond) that we would play, listen and dance to ourselves.
We really tried to avoid the dangerous traps of following trends which in the long run can water down labels to just a music portal instead of a music brand with character.

Basically, we aim to deliver our own musical personality via artists and producers that we love and respect. To sum things up, we are proud to present Local Talk - 13 Years Later.

On this 13 Years Later compilation we reached out to some of our friends on the house scene and as always, we try and aim for a wide spectrum of styles.
You'll hear everything from classic house, deep house and soulful house to Detroit(ish) and Jazz(ish) from some of our fave producers.

We sincerely hope you will enjoy this selection of dance MUSIC as much as we do and that there's something for everyone on our compilation."

UK Garage legends Groove Chronicles (Noodles & Dubchild) are back with the 'Soul 'N Mind' 12" featuring their highly sought after Brokenstep edits.
These have been on heavy rotation by the likes of Gilles Peterson, Charlie Dark, Bradley Zero, IG Culture and more. Limited hand-stamped and stickered copies, be quick!

Groove Chronicles have releases dating back to 1997 and are legendary in the world of UKG. Founded by Noodles, who is now working with longtime associate, Dubchild. Noodles has been working in the music game for three decades, from spinning at raves in Paris when he was 17, to serving it up behind the record shop counter, to running his own label, DPR. Responsible for bonafide classics like 'Stone Cold', 'Myron' & 'Poor Man's Break', his work serves as a blueprint for many sounds across the UK bass spectrum.

Leicester legend, Dubchild, stems from a musical background of reggae, hip hop, house, garage & jungle. He's released an array of dubstep & instrumental grime records through various labels since the early noughties, including Caspa's Storming Productions & Heavy Artillery, amongst others.

The duo also combine under the moniker Nu-Agenda with their own hybrid house style, and have had collective support over the years from stations such as 1Xtra, NTS, Kiss, Reprezent & Rinse, DJs such as Annie Mac, Zane Lowe, Mary Anne Hobbs & Ras Kwame, IG culture, Charlie Dark, Gilles Peterson, Bradley Zero, Marcia Carr, Afronaught and publications like iD, Fact, DJ Mag & Crack Magazine, to name a few.

The Allergies hook up with The Pharcyde's Bootie Brown on their brand-new slab of throwback rap, 'Stanky Funk'. It's a match made in hip-hop heaven, with The Allergies channelling classic early 90's boom bap beat business. Beefed up lo-fi funk loops, neck-snap drums, cuts and rumbling bass lines provide the backbone for a legend to get busy over.

'Never Gonna Let Go' is on the B-side – a funky up-tempo breaks-heavy banger that sees The Allergies twin monster samba samples with roots reggae vocal rips, for full dance-floor destruction.

First time available on cassette. Gap Girls led by Jacob Rubeck of Surf Curse. Gap Girls is the synth-pop project of Los Angeles DIY scene mainstay Jacob Rubeck. As half of the electrifying indie rock duo Surf Curse, Rubeck is no stranger to a good hook, but when he trades jangly guitars for synths, an entire new world opens up. On his new album Forever Love, Forever After, that world is one of love, hope, and welcomeness. In contrast to the shadowy wistful sounds of Gap Girls’ previous effort ‘Street Desires,’ ‘Forever Love, Forever After’ sounds like an uplifting triumph of love, in all its mysterious shapes and forms. With punchy drum machines, shimmering synths, and chest-rumbling bass, these songs are pure synth-pop bliss for letting love in.

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

Zur Feier des 40-jährigen Jubiläums von OMDs viertem Studioalbum ”Dazzle Ships” wird das Album in einer brandneuen, erweiterten Version veröffentlicht. Das Set besteht aus dem Originalalbum und einer BonusLP mit unveröffentlichten Demos und Raritäten, zusammengestellt und gemischt von Paul Humphreys.
Erhältlich in einer Standard-Gatefold-Hülle auf blauem und silbernem Vinyl und als 1CD

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

Pressing Info: 180g clear blue vinyl, printed inner-sleeve. Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock'n'roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours' self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: "The musical backgrounds of each member are pretty broad but somehow when we come together there's a pretty clear definition of what our music should sound like. There's a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically."

Running Back welcomes Firas Waez and his studio character 9th House for a flock of heartfelt and intuitive house tracks. Centered around uplifting chords and joyous melodies, upbeat drums and shuffling hi-hats, it feels like being in a circle dance, watching flowers turning into fruits or caterpillars into butterflies.

Made with the tools of today, but with a burdening love for the ancient magic and positivity of this music. The results being highly contagious. Whether its any of the 9th House’s solo works like Reuben or the collaboration with Matrefakt, it’s impossible to hold still. But as no one can live off love alone, there is also an odd one out. The eponym Midas swaps vintage techniques and the love potion of its counterparts for sharp and exact peak-time magic that makes endorphins rush and cheeks blush. Whichever you finally pick of the five tracks, any of them are an amulet against bad times. A Midas’ touch indeed! Happy house painting artwork courtesy of Luciano Calderon via ruttkoswki;68.

Fans of the Escapers know the love of Rock Steady and Reggae Music. This time they pay homage to a Johnny Taylor sung Stax classic and transform it into a Lover’s Rock thriller. A bass heavy Roots rhythm combined with Colton’s haunting lead guitar create a perfect platform. Johnny Ruiz to express his love. Hey baby “Ain’t That Lovin You”? Definitely, and for “More Reasons Than One”

More of a double A-Side release, the b-side has The Escapers calling on The Heavyweight Dub Champion himself...the mighty Scientist to reinterpret their biggest single “Stay”! Overton “Scientist” Brown gives this tune a classic style “version” with all the echo and distortion any reggae fan would want. A real privilege to work with one of the true legends of dub music!

Originally conceived as a standard EP, the remixes of The Human & Assets' original composition Jugem Jugem have proven to be an eclectic array of high-quality tracks, ranging from warm and rounded minimal sounds to rumbling low-end rigidness - and a few classic techno bombs to round things off.

The project turned into a two-disc collection of remixes, each giving the listener a specific and original flavour of electronica. Remix duties were masterfully executed by Japan's own Ko-ta, known by his sly releases on DJ Nobu's Bitta label; rising underground marvel and Edit Select Record's household name Linear System, with his hypnotic syncopations - and to finish the release off in massive style, French heavyweight Moteka (Skryptom) brings his colossal version of the original.

Néo-Romance ist das klangmalerisches Debüt-Album der kanadischen Pianistin und Komponistin Alexandra Stréliski bei XXIM Records (Sony Music). Inspiriert von den Geschichten ihrer Vorfahren in Europa und einer neuen Liebe in Rotterdam, findet die Musikerin mit polnisch-jüdischen Wurzeln darin einen neuen, romantischen Zugang zum Leben und ihrer Musik. In ihrer Heimat Kanada ist Alexandra Stréliski seit ihrem Album Inscape (2018) mit dem sie offen ihren Burn-Out thematisierte, mit über 140.000 verkauften Alben und 300 Millionen Audiostreams weltweit ein gefeierter Medienstar und erhielt 2020 den renommierten JUNO Award.Néo-Romance ist inspiriert von großen persönlichen Veränderungen im Leben von Alexandra Stréliski. Es ist die Geschichte ihrer Öffnung für die Liebe und neue Erfahrungen nach dem Rückzug durch ihren Burn-Out, verstärkt durch die Pandemie. So ist Alexandra Stréliski während der weltweiten Gesundheitskrise nach Rotterdam gezogen, um dort mit ihrer Lebenspartnerin zusammen zu leben. Ihr Weg nach Europa führte sie damit zu den Wurzeln ihrer Familie. Sie besuchte die Wohnhäuser in Amsterdam, in denen ihre Vorfahren einst lebten, und entdeckte in einer Bibliothek in Paris Kompositionen von einem ihrer Vorfahren, der Lehrer und Komponist in der Zeit der Romantik war.Die Vorstellung einer kollektiven Identität und gemeinsamen Geschichte fand in Alexandra Stréliski einen tiefen Widerhall, der durch die erzwungenen Trennungen und das Gefühl der Isolation infolge der pandemischen Abriegelungen noch verstärkt wurde. Entsprechend entstammen ihre Kompositionen für Néo-Romance "einem sehr tiefen, sehr persönlichen Raum". Diese Erfahrung versucht Alexandra Stréliski auf ihrem Album mit anderen Menschen zu teilen. Sie erklärt: "Bei Néo-Romance geht es um Geschichten gegen Einsamkeit und Isolation. Wir sollten uns daran erinnern, wie universell unser emotionales Spektrum als Menschen ist, im Gegensatz zu einer Polarisierung. Wir alle machen die gleichen Traumata durch - Leben, Tod, Trennungen - wir können also hoffnungsvoll bleiben und von unserer eigenen, wunderbaren Existenz träumen. Wir können uns verlieren und in unseren Gefühlen leben - es ist alles in uns, und darin sehe ich Hoffnung. Die Prämisse und das Setting für das Album ist: Wie kann man in dieser desillusionierten, beängstigenden Zeit, in der wir leben, einen positiven, inneren Zugang im Sinne der Romantik zur Welt finden", erklärt Alexandra Stréliski.Auch musikalisch lässt sich Alexandra Stréliski von der Romantik inspirieren und versucht ihr kompositorisches Spektrum zu erweitern. Insbesondere von Frédéric Chopin lässt sie sich beflügeln, mit dessen Musik sie aufgewachsen ist. Das Label der "Neo-Klassik" möchte sie hinter sich lassen. Für die 14 Stücke des Albums arbeitet sie strikt melodieorientiert und gibt den Themen Zeit sich zu entwickeln. Die Kompositionen sind jeweils als eine in sich geschlossene Idee und entsprechend farben- und kontrastreich zeigt sich das Album: So stehen etwa den sanften und ruhigen "Rêveries" und "Border" die bewegten Stücke "The Hills" und "The Breach" gegenüber, die von schnell auf- und absteigende Klavierarpeggien geprägt sind. Für Néo-Romance arbeitete Alexandra Stréliski auch erstmals mit einem Streichtrio zusammen, das sie in Paris aufgenommen hat. Vereinzelt setzt sie auch eine Kirchenorgel als subtile Begleitung für ihre Klavierlinien ein.

white marbled vinyl
Jacidorex is back with another album, 'UNFACED01'. This record sees the Belgian DJ/producer pushing the boundaries of the genre even further with his signature brand of dynamic hypnotic acid patterns.

'UNFACED01' begins with a cinematic introduction before opening into a hip-hop track, which then swiftly transitions into electro techno, industrial techno, acid trance tech

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.

Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.

Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.

Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.

To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.

Für viele Musiker ist der Schritt aus dem Kollektiv ein riskantes Manöver: Wie nämlich nehmen Band und Publikum die Entscheidung auf? Hendrik Otremba, Sänger der Gruppe Messer, stellt nun sein Soloalbum vor. Er hat es Riskantes Manöver genannt - aber nicht aus dem genannten Grund. Längst hat er sich als eigenständiger Künstler etabliert, hat als Maler, Autor und Performer stets auch zur Identität von Messer beigetragen, die gerade obendrein an einem neuen Album arbeiten - dieses Soloalbum kündet also nicht von Zwist. Wenn etwas verblüfft, dann vielleicht eher, dass Otremba nicht erneut in ein neues Medium aufbricht, sondern dorthin zurückgeht, wo alles anfing: zu den eigenen Songs, die bisher im Verborgenen lagen. Riskantes Manöver ist dabei kein Aufguss des Bekannten, aus Ennui oder Eitelkeit. Viel eher tritt der Songwriter Hendrik Otremba an die Öffentlichkeit, der sich parallel zu Messer entwickelt hat. In den vergangenen zwölf Jahren nimmt er Demos auf, experimentiert, geht intuitiv vor und findet zu einer eigenen Sprache, aus der er nun mit zwei engen Freunden ein Album ausgearbeitet hat: Multi-Instrumentalist Alan Kassab, ein Schulfreund Otrembas, und Kadavar-Schlagzeuger Christoph 'Tiger" Bartelt, schon Produzent des Messer-Debuts. Gemeinsam nähern sie sich den Demos wie einem Skript und schaffen so eine Art auditiven Autorenfilm. Im Zentrum steht eine kreative Vision, die von virtuosen Technikern und begnadeten Darstellern umgesetzt wird - neben der Kern-Crew gehören dazu Stella Sommer, Alex Zhang Hungtai (Ex-Dirty Beaches), der Otremba überhaupt erst dazu inspirierte, ein eigenes Album zu schreiben), Gregor Schwellenbach, Friedrich Paravicini, Dominik Otremba (aka Performance) - aber auch Tochter Hedi und mehr als ein Dutzend weitere Kreative zwischen Indie-Adel, Hochkultur-Bagage und Jugendfreunden. Doch nicht nur durch sein Casting-Gespür und weitere direktive Entscheidungen überzeugt Otremba, sondern vor allem mit Musik, die durch ihre Weite und einen eigensinnigen erzählerischen Ansatz gar filmisch wirkt: Als zarter Chansonier schleicht Otremba durch die Streicherschluchten von New York II, geifert als Apokalyptiker in Nektar Nektar vor Blastbeat und heulendem Saxofon, findet in der sinophilen Klavierballade Bargfeld aber auch zu Ruhe und Intimität. Brachialen Proto-Industrial und dröhnenden Goth meistert Otremba ebenso wie epischen Pop oder Großstadt-Country; hier öffnet ein Musik-Enthusiast sein vielseitiges Portfolio, in dem er als Sänger und Performer zugleich eine neue Bandbreite entwickelt. In sein Rollen-Inventar führt Otremba zudem die Figur "66 ein, ein "Zeuge des zivilisatorischen Niedergangs" und eine Art Erzählstimme, durch deren Perspektive wir auf das von Katastrophen und Verlassenheit geprägte Geschehen des Albums blicken. Otremba tritt als "66 maskiert auf, zu sehen etwa auf dem Cover der Riskantes Manöver Doppel-10-Inch. Was die Bandagen bedeuten, bleibt unklar - ein weiterer, rätselhafter Eintrag in Otrembas Privatmythologie, bestehend aus Namen, Zeichen, Bildern, die sich durch sein gesamtes Werk erstrecken. Riskantes Manöver öffnet darin nicht nur eine neue Facette, der Titel fasst zugleich das Ethos eines Arbeitens zusammen, "das nicht auf Relevanz oder Erfolg gepolt ist". Gerade, wenn dabei immer wieder Gegensätze vereint werden müssen, die an dem Menschen dahinter zerren: "Das riskante Manöver ist mit den Widersprüchen zu leben und sie im eigenen Schaffen stattfinden zu lassen. Lust und kreative Ambition als was Positives zu begreifen in einer Situation, wo das, was ich sehe, eigentlich für das Gegenteil spricht, abgründig, negativ, dämonisch ist." In diesem Sinne ist hier ein Monolith von einem Album geschaffen, der sich zugleich machtvoll und zart aufstemmt, wie es im Untertitel der Platte heißt: "gegen die Verachtung der Gegenwarth"! - Sebastian Berlich

"Goldfish" Indie Store Exclusive Color Vinyl Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, `Barbara,' she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being `Barbara,' an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o the cu, were compiled into a new project titled `5K.' As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ris. "Nocturne Interlude" acts as a segue between `Barbara' and `5K,' showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With `5K,' Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP `Happy To Be Here' and her follow-up `Barbara'.

Originally from Manchester now based in Lewes, Kalli co-runs the GODDEZZ parties and record label.

Sonically, Kalli can't hold back when interconnecting the dots of hoover synths, electro, gritty rave and off-kilter weirdness.

Soft Play is a primal techno beast with punk undertones and monstrous hoover rave drop.

Gems Per Capita shows Kalli in full club mode, unleashing a bass heavy electro tinged track with a killer Acid break; a peak time weapon.

The memory of trying to naively connect to an identity, along with searching for daily eccentric enjoyment in a rural, rainy post-industrial town’ Kalli.

Public Image Ltd. (PiL) will release Hawaii on 7” limited edition vinyl on 31st March. The release follows an incredibly brave and well received performance on The Late Late Show Eurovision Special on Friday 3rd February, in which John Lydon’s heartfelt emotions were visibly on show.

The track is the most personal piece of songwriting and accompanying artwork that Lydon has ever shared. The song is a love letter to John's wife of nearly 5 decades, Nora, who is living with Alzheimer’s. A pensive, personal yet universal love song that will resonate with many, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. “It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most,” John says. “It’s also a message of hope that ultimately love conquers all.” Celebrating their 40-year anniversary in 2018, Public Image Ltd. haven’t been going quite as long as John and Nora, however, the band is widely regarded as one of the most innovative and influential bands of all time.

PiL’s music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums. With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album First Issue in 1978 through to 1992’s That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now… in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now… was self-funded by PiL and released on their own label ‘PiL Official’ via Cargo UK Distribution. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be releasing their new album ‘End Of World’ this year. Details to be announced soon…

“Uncharacteristically soul-bearing” - Pitchfork

“a swooning, poignant ballad awash with memories of happier times… He’s remarkably tender as he croons: “Don’t fly too soon / No need to cry, in pain / You are loved.” It’s the vulnerability that is most striking. Lydon’s love for his wife shines through like sunrays breaking through clouds, casting everything in a golden light: “I remember you,” he reassures her. He’s backed by harmonising chants of “aloha”, the Hawaiin term that is both a greeting and a farewell. It’s a message from the heart, overflowing with spirit and compassion. What better word for what Lydon is trying to convey here?” - The Independent

“a beautiful and rueful ballad written by 66-year-old Lydon to his wife Nora, who suffers from Alzheimer’s. It’s a peach of a track: both pensive and personal, it reflects on one of their happiest times together in Hawaii. “Remember me/ I remember you… You are loved,” not-so-Rotten sings over a lush soundscape of gently twanging guitars vaguely reminiscent of Fleetwood Mac’s Albatross.” - Telegraph

Ein Muss für alle Hard Rocker! Last in Line - die Band um die Original Dio-Mitglieder - veröffentlichen ihr drittes Album:
Auf „Jericho“ liefert Campbell seinen charakteristischen, flamboyanten Gitarrenstil, Appice und Soussan erschüttern mit ihren unverwechselbaren Grooves die Grundfeste, und Freemans Gesang gehört zu den besten seiner Generation.

Die 12 Tracks bestechen durch fette Gitarrenriffs und Soli, sie sind eingängig und voller Energie!

— Exzellenter Hard Rock eines All-Star Line-Ups

— Vivian Campbell (Def Leppard, ex-Dio), Vinny Appice (ex-Black Sabbath, ex-Dio), Phil Soussan (ex-Ozzy Os bourne), Andrew Freeman (ex-Lynch Mob)

MC/Lyricist Raw Poetic (aka Jason Moore) announces Space Beyond The Solar System, his new album out December 9th on 22nd Century Sound, and presents its lead single, “A Mile In My Head,” featuring legendary saxophonist Archie Shepp. Although Space Beyond The Solar System could be considered a concept album by its outcome, its inception started from a string of experiments between Moore and frequent collaborator/producer Damu the Fudgemunk. These initial sessions had no specific direction but became the catalyst for what would become a prolific wave of Raw Poetic projects; five of which have been released since 2020.

It was these initial sessions and the demos they produced that convinced Shepp—who is also Raw Poetic’s uncle—to record what would eventually become 2020’s Ocean Bridges, a collaborative album from Raw, Damu, and Shepp, praised by The FADER as “modern masterpiece at the intersection of rap and jazz.” The trio’s collaboration continues on Space Beyond The Solar System, which boasts three tracks featuring the jazz legend, including today’s “A Mile In My Head,” a sprawling and thought-provoking album stand-out.

At two hours, absorbing Space Beyond in its entirety may be overwhelming for most, especially in the present day, but Raw and Damu are very aware of this. With a total of over 40-plus years of experience between the vocalist and producer, the two of them went down memory lane taking every influence and experience in their personal histories to extract ingredients for a groundbreaking statement. Space Beyond The Solar System is their most comprehensive environment to date.

The creation of Space Beyond sparked a conversation between Raw and Damu about their creative chemistry, with Raw likening their direction to a “space beyond the solar system.” His comment was a eureka moment for the two artists, giving their wandering efforts a sense of definition that was needed. “I think we’ve been exploring music beyond our limits for a few years,” says Raw Poetic. “It’s hard to tell where we’ll land, but we are constantly pushing our way out of the norm. Hence the title, ‘Space Beyond the Solar System.’ It’s just to say, this is new territory for us. Where the sky was once the limit, now it’s just the start.”