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‘SUNNY DAY’ PRO UNO presented by THE REGIME

Smooth loved-up and sun kissed soul, melting over jazzy road-trip and summertime vinyl dust. The Regime’s sophomore release is strictly vintage, playfully psychedelic, smothered in funky soul, and irrefutably ‘on the One’.

Spawned from 70s soul, jazz and funk, combined with the plethora of free time the covid pandemic demanded, THE REGIME’s jazzy-soul outfit PRO UNO rose from the ashes, dousing the public with a whiff of the good ol’ days, where music was real, authentic and pure. Their 70s aesthetic and full in house production combines sounds reminiscent of Al Green, Steely Dan, Bill Withers and America, to create a state of total nostalgia and peace love n harmony vibes. This iteration of the Funk Collective THE REGIME is their most exciting and tasteful project yet. Expanding on the original hip hop, funk niche, ‘SUNNY DAY’ in undeniably one for all, and indeed all for one.

Loud UK Drum & Bass and Roots Ragga Jungle. Masterpiece for Master Peace Jamasky ! Mastering is louder than ever... The sleeve is wicked ! Enjoy the little Jamaksy special speech bonus on track 5...

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Los Angeles bass titan Henry Franklin is bestknown for the two Skipper LPs issued by Black Jazz in 1972-74; 1977’s Tribal Dance is more obscure and arguably the best of the bunch, the spiritual jazz given an extra propulsive dimension via the excesses of Sonship, banging complex rhythms on his elaborate self-made drums, as heard on the opening title track and the extended ‘Cosmos Dwellers.’ Elsewhere, ‘Eric’s Tune’ has flamenco undercurrents, ‘Spring Song’ is a slow piano meditation, and ‘Prime

Move’ is all over the map. This sonic jazz journey engages the senses and is thoroughly excellent throughout – get your copy now!

The legendary multi-session recording made by Gert Palmcrantz on December 6–7, 1976, at Jazzpuben Stampen (Pawnshop) in Stockholm, Sweden. Regarded by many audiophiles as one of the best sounding jazz recordings of the 20th Century.

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

Love, Love, Love, Love will make you walk a thousandcmiles to be with her. She is the wisdomcyou long to have, the courage you nevercthought you had. Love is peace, she is patient, she is Kind. Love will heal that infected wound that you long gave up on to heal, more powerful than any weapon of mass destruction. Cuddled up in her grasp, her tears will roll down your face. She’s the real deal. She will fight for you, she will carry the sword for you, She will walk a thousand miles for you. She is sweet, very sweet. Welcome to Jaqee 6th and final album, a closure of a chapter in my artistry so far. This is not the end, it’s just a crossroad that is proudly and lovingly directing me into an unpredictable future. I felt a strong need for healing on this album, so I made way for Vulnerability. I have opened doors that are to be obediently followed as I dig deeper in the understanding of the one thing that we humans yearn so much for. Love is King.

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

Repress!

More Classic Northern Soul Sides From The Legendary Cameo-Parkway Label Transferred From The Original Master Tapes And Reissued For The First Time Ever

Repress!

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process.

These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80's electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory.

The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover.

On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since it's 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

Repress!


THE KING CASUALS – were originally named The King Kasuals and were founded in 1962 by the late great Jimi Hendrix. Little wonder that in the late Sixties Jimi’s replacemet, Johnny Jones, would lead the band in a raucous, stomping interpretation of the Hendrix classic. It had everything necessary to propel you to the dance floor and it certainly lit the Torch in Stoke-on-Trent, shook the floor at Wigan Casino and wobbled the pier at Cleethorpes. This outrageous powerhouse has grown in stature over the years and sounds every bit as a weird and wonderful as it did over 50 years ago.
GENE CHANDLER – needs no introduction to the UK Northern Soul scene thanks to his numerous floorfillers and UK appearances. As with our flip-side, “Purple Haze”, “There Was A Time” is a definitive ‘soul’ cover-version of an R&B original, in this case by the “Godfather” James Brown. This stomping, adrenalin-fueled dance cover was propelled to classic status in Mr M’s at Wigan Casino and cemented Gene “Big Shot” Chandler’s place in the Northern Soul Hall of Fame.

Another Interplanetary STAR CREATURE team up for a Chicago Tokyo expedition across a soundscape ranging from bossa nova lounge to pre-vaporwave exotica; new age city pop to minimal library boogie. JUNE CHIKUMA is best known now for her ground breaking Video Game soundtracks throughout the late 1980s and early 90s, most notably the now cult-classic status Bomberman Hero OST for Nintendo. During this same period she produced many recordings for a wide variety of clients including Japanese Public Transit Commercials, Video Game Arcades and VHS Nature Documentaries. STAR CREATURES combed her archives and selected a nice mix of tracks as entry point into her work. These tracks have been rescued from obscurity, remastered and waxed up for contemporary universal enjoyment. 500 Copies. Pressed in Detroit.

Burning Hell was recorded in 1959 in Detroit, MI, but wasn't released until 1964. Even then, it was only available in the U.K.. This 180-gram vinyl pressing marks the first official single LP worldwide release the album has seen. Pressed at QRP as part of the Bluesville Records / Acoustic Sounds series, the album features Hooker solo as he plays originals and classics. AllMusic states that, on this album, "Hooker shows himself to be an excellent interpreter who could have held his own with Delta bluesmen of any era."

Craft Recordings, in partnership with Acoustic Sounds, is releasing Burning Hell as part of the Bluesville Series. Bluesville is a brand-new hub for all things blues, including vinyl reissues, curated playlists, and more! Inspired by the original label imprint established under Prestige Records in 1959, the Bluesville Series will highlight the many trailblazing musicians who contributed to the rich tradition of the blues, including titles from legendary artists on labels such as Vee-Jay, Riverside, Vanguard, Stax, and Rounder Records.

The albums in the Bluesville Series are pressed on 180-gram vinyl at Quality Record Pressings and feature all-analog (AAA) mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios, plus a tip-on jacket and obi strip with notes written by Grammy-winning producer, writer and musician Scott Billington.

Nick Garrie was an unknown backpacker until his music was discovered in the late ’60s while busking in the South of France. Recognising his talent, work on a collection of recordings followed which would culminate in his legendary debut album The Nightmare of J.B. Stanislas. Set to be released in 1969 on the influential French label Disc’Az, however due to the suicide of the label’s founder, Lucien Morisse, shortly before the album’s release date, only about 100 copies of this psych pop/soft rock masterpiece came into circulation. It became a cult album in the truest sense and was finally reissued almost 40 years later. With the death of Morisse, Nick took some time away from recording only to return under an alias, writing with Oscar and Golden Globe winning composer Francis Lai. His directory of credits only grew as he worked with Paul Samwell-Smith (The Yardbirds), Alun Davies (Cat Stevens’ Band), drummer Gerry Conway and Leonard Cohen. Nick Garrie grew his audience in Europe, penning an album that would top the charts in Spain. In 2005 the album The Nightmare of J.B Stanislas was reissued, achieving critical acclaim from The Independent, BBC & Record Collector. Nick’s resurgence combined with fascination of his back story led to a new generation of music fans and musicians appreciating Garrie’s work. In this tim he was collaborated with the likes of Duglas T. Stewart (BMX Bandits) Norman Blake and Francis McDonald (Teenage Fanclub) and Gary Olson (The Ladybug Transistor). Now, for the first time ever, the classic title track is to be released as a 7” single. It is also the first ever vinyl release of Nick’s work on a UK label. The B side is a song close to Nick’s heart Around the World. This track was also written in the ’60s but had never been recorded before. It was recorded at Nick’s home in late 2023 with the help of fellow 9X9 recording artist Jamie Whelligan and musician/producer Nick Frater.

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.

“Memo PST was formed in 2022 by longtime associates Orville Neeley and Chris Shaw. “The band released a self recorded cassette demo and played a handful of shows in California before setting up shop at Discount Mirrors (the neighborhood studio owned by John Dwyer and Eric Bauer) to lay down an LP. “Recorded the first five days in May of 2023, the debut album from Memo PST features twelve blasts of raw and primitive Los Angeles punk rock, with Orville Neeley (Bad Sports, OBN IIIs) handling songwriting duties and Chris Shaw (Ex-Cult, Vile Nation) handling vocals and lyrics. “The debut long player from Memo PST is everything fans have come to expect from the two longtime fixtures in underground rock, but also features some of their most memorable songs yet, including ‘I Used To Be A Pretty Boy’ the debut single from the band that sold out in hours via record label In The Red. “The black and white album cover photo (taken behind the iconic rocker shop Worship) and the stark presentation that Memo PST has thus far deployed is a clear statement that this is punk made for punks, and the band has little to no regard for current trends created and championed by those less informed. “Written, recorded, and released in Los Angeles, this is the latest chapter in the LA transplants discography, and only the beginning of what we can expect to hear from the songwriting duo. “Rounding out the live lineup is life long Los Angeles punk Danny Clodfelter on bass and San Clemente surf punk Jackson Todd on drums. Crumple up your scribblings, this is Memo PST.”

For fans of Pan Amsterdam, Edan, Homeboy Sandman, Sleaford Mods etc. Features the singles ‘Baby Don’t’ ft. Sonnyjim & Quelle Chris and ‘Space-Bar’ ft Pan Amsterdam. Blessing/curse. Division/unity. Love/hate. It’s in the context of a polarising 24-hour, digitised, globally connected world that NightjaR finds its wings. NightjaR being the nom-de-plume and smudged rainbow constellation of collaborative copy-and-paste sound-wrangling and hip-hop from Doves’ Jimi Goodwin. But it’s here and it’s Mala Leche. Mala Leche (Spanish: Bad Milk) is 16 tracks of beats and bars, vocals provided by some of the hip-hop artists at the very top of Jimi’s own, personal home listening lists and interludes that throw back and forth through eras and genres in sometimes playful, occasionally awakeningly abrasive styles.

Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. Seablite was formed in 2016 when Lauren Matsui (vocals / guitar) and Galine Tumasyan (vocals / bass) bonded over a mutual appreciation of early 90's Britpop and UK underground music. The pair began writing songs and soon after Jen Mundy (ex-Wax Idols) joined on second guitar and Andy Pastalaniec (Chime School) would eventually join on drums. They have released an LP (2019’s “Grass Stains and Novocaine”) and 7" single (“Breadcrumbs” c/w “Ink Bleeds”) via Emotional Response Records and a 10" EP (“High-Rise Mannequins” - recorded and produced by Alicia Vanden Heuvel of the Aislers Set) in conjunction with Spain’s Meritorio Records. The band is among San Francisco’s current indie pop renaissance and have opened for the likes of Brian Jonestown Massacre, The Charlatans and Ladytron upon their recent Bay Area visits. Seablite has finished their sophomore album, “Lemon Lights” (due out this summer on Mt. St. Mtn). Recorded over the summer of 2022, “Lemon Lights” contains 12 dreamy pop tracks showcasing the group’s continued growth and maturity and marks a strong progression from their debut album. After recording basic bed tracks with Robby Joseph, the band finished overdubs in their practice space and Lauren's apartment. The freedom of home recording allowed them to experiment, resulting in an organic and intuitive manifestation of the band's emotions and creativity - a sonic inkblot of unfiltered pop appreciation. One may hear Manchester undertones on "Hit the Wall" and “Melancholy Molly”, or the feminine noise-pop of Lush on "Pot of Boiling Water" but Seablite are not to be mistaken for anglophile copycats. Seablite incorporates the jangle of their San Francisco “Fog Pop” contemporaries on tracks like “Hold My Kite” and a relentless and driving guitar on “Blink Each Day”, while the wonderfully dark elements on “Monochrome Rainbow” and the wistful closer, “Orbiting My Sleep” give them a wide range of sounds and vibes. Mastered by Mark Gardener of Ride.

-Produced by Sirplus with scratches by Exile.
-The vocal version of "Home" featuring Blu is exclusive to this vinyl release.
Sixteen beats in honor of the sixteen squares in Sirplus's Akai MPC 2000XL. Classic beats from a classic machine. No eight outs, just straight out the stereo jack. You can hear the time that was put into crafting a clean sound even without the detailed mixing from DAW. Raw beats from Sirplus with help from Exile on the turntables. That's it. Also take note of the vinyl only vocal feature from Blu on the last track. This version will not be on digital platforms.

One of Jamaica’s most influential vocal groups, revered and imitated by the young Wailers and the Heptones.

Sonny Stitt replaced John Coltrane when he left the Miles Davis Quintet in April 1960.




[c] B1 Walkin [incomplete]

"Reissued for the first time on vinyl here’s the second album of Jamaican reggae singer George Faith, originally released on Hollywood records back in 1979.
"Wonderful soul reggae melodies backed by the likes of Sly & Robbie, Aston 'Family Man' Barrett, Tommy McCook, Earl 'Chinna' Smith and more. Produced by the one and only Bunny Lee at Harry J Studios and mixed by Scientist at King Tubby’s Studios!"

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

Sein drittes Studioalbum “The Learning Of Urgency“ erscheint Anfang Juni 2024 auf ODESZAs angesehenem Label, Foreign Family Collective.

Für Kasbo ist „The Learning Of Urgency“ ein extrem wichtiges Konzept. Das Songwriting kreist um das Thema Entschleunigung, da die letzten Jahre seines Lebens von einem Gefühl des akuten Drucks geprägt waren, der sich in einem unterbewussten Zwang manifestierte, ständig mehr zu erreichen und zu tun. Das Ergebnis hätte ihn fast seine Karriere gekostet, da er einen seltenen, stressbedingten Hörverlust entwickelte. Das Ende der Pandemie relativierte diese Stressfaktoren, und indem er sich mit ihnen auseinandersetzte, war er in der Lage, persönlich und beruflich wieder auf Kurs zu kommen und dieses neue Album zu schreiben. Vier Jahre lang nahm Kasbo „The Learning Of Urgency“ auf, während er hauptsächlich in Göteborg und Stockholm lebte. Er hatte die Gelegenheit, im geschichtsträchtigen Aufnahmestudio Riksmixningsverket (RMV) zu arbeiten, das auf der Insel Skeppsholmen in Stockholm liegt und dessen Besitzer:innen niemand geringeres als ABBA sind. Das Studio ist in einem 150 Jahre alten Lagerhaus untergebracht, das früher von der schwedischen Marine betrieben wurde. Kasbos Musik hat bis heute über 500 Millionen Streams erreicht. Er wurde mit dem schwedischen P3 Gold Award in der Kategorie „Dance Artist Of The Year“ ausgezeichnet und erhielt Lob von Billboard, The FADER, Stereogum und anderen. Mit seinen sich ständig erweiternden Fähigkeiten hat Kasbo als Live-Performer, DJ und Produzent die Dreifaltigkeit der modernen Tanzmusik erreicht.

FTB’s 1971 ‘Satori’ reissue: white vinyl edition, get it now!

Originally released in 1971, this album marked a significant milestone as the first Japanese artist's work intentionally tailored for international audiences. It made waves not only in Japan but also in the United States and Canada, where the single "SATORI PART 2" climbed to number 8 on the charts. The album's distinctiveness lies in its infusion of Eastern and Japanese musical elements, a reflection of the growing interest in Oriental philosophy across Europe and America during that time.

In the early '70s, Japan was transitioning from the pop-centric GS genre to a more folk-influenced sound, with rock still finding its niche. Despite this, FLOWER TRAVELLIN' BAND garnered support for their pioneering sound, both at home and abroad, maintaining their popularity over the years.

LIMBONIC ART kehren mit "Opus Daemoniacal" zurück! Das neunte Album der norwegischen Black Metal Pioniere ist schwarz wie ein Rabe, grimmig wie ein Wolf, majestätisch wie ein Adler und so mächtig wie die frühen Werke der legendären Band, die Sänger und Multi-Instrumentalist Vidar "Daemon" Jensen im Jahr 1993 gegründet hat. Auf "Opus Daemoniacal" bleibt der Norweger seinem geradlinigen schwarzen Kurs treu, den er zuletzt eingeschlagen hatte. Doch das Album lehnt sich gleichzeitig auch bewusst an die atmosphärische Dichte und das cineastische Gefühl von LIMBONIC ARTs bahnbrechenden Frühwerken an. Nach dem Anwachsen zu einem Duo erschien das Debütalbum "Moon in the Scorpio" im Jahr 1996 bezeichnenderweise über Nocturnal Art Productions - dem Label von EMPEROR-Gitarrist Samoth alias Tomas Thormodsæter Haugen. Die einzigartige Kombination aus hartem nordischen Black Metal mit erhabenen Kopfkino-Elementen, die ihre Inspiration aus romantischer und klassischer Orchestermusik bezogen, erwies sich in den folgenden Jahren als äußerst einflussreich. Mit dem Nachfolger "In Abhorrence Dementia" (1997) und dem dritten Album "Epitome of Illusions" (1998) reduzierten LIMBONIC ART allmählich die symphonischen Elemente in ihrem Sound. Im Februar 2003 löste sich das Duo auf, aber Daemon reformierte die Band im Jahr 2006. Es folgten die LIMBONIC ART Alben "Phantasmagoria" (2010) und "Spectre Abysm" (2017). "Opus Daemoniacal" verbindet die Gegenwart mit dem frühen Klanggefühl der norwegischen Kultband, was sowohl Freunde der ersten Werke als auch eine neue Generation von Liebhabern des klassischen nordischen Black Metal ansprechen wird.

Kaipa sind zurück! Im Sommer 1964 begann die musikalische Karriere von Hans Lundin, als er Mitglied seiner ersten Band als Organist und Sänger wurde. Er sagt, dass die folgenden Jahre "die beste Ausbildung waren, die ich je bekommen konnte". Neun Jahre später, 1973, gründete er die Gruppe KAIPA. Jetzt, 60 Jahre nach Beginn seiner Karriere, sind er und seine aktuellen Bandkollegen Per Nilsson, Jonas Reingold, Darby Todd, Patrik Lundström & Aleena Gibson stolz darauf, die Veröffentlichung von Kaipas 15. Studioalbum "Sommargryningsljus" (Summer Dawn Light) anzukündigen. "Eine flüsternde Morgendämmerung, die Sonne ist auf dem Weg, um einen brandneuen Tag aus den Schatten der Nacht zu eröffnen", heißt es zu Beginn des Songs "Songs in Our Hands". Das Thema der Morgendämmerung lag Hans Lundin in seinem Songwriting schon immer sehr am Herzen. Auf seinem selbstbetitelten Debütalbum, das 1975, also vor 49 Jahren, erschien, schrieb er darüber in dem Lied "Se var morgon gry". Auch in den Liedern "Dagens port" und "Visa i sommaren" auf den folgenden Alben kehrte er zu diesem Thema zurück. Mit dem neuen Album schließt er den Kreis und kehrt dorthin zurück, wo alles begann. "Sommargryningsljus" enthält acht Stücke, die eine nächtliche Reise von der Abenddämmerung bis zum Morgengrauen darstellen, wobei die ersten beiden Stücke die Dämmerung und die letzten beiden die Morgendämmerung repräsentieren. Diese nächtliche Odyssee kann als Metapher für den Zustand zwischen Tod und Wiedergeburt oder als Allegorie des Lebens in umgekehrter Reihenfolge betrachtet werden.

Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

Die schottische Progressive-Post-Metal-Band DVNE wird ihr neues Album "Voidkind" am 19. April über Metal Blade Records veröffentlichen. Die 2013 in Edinburgh vom Franzosen Victor Vicart und dem gebürtigen Schotten Dudley Tait gegründeten Progressive-Post-Metal/Sludge-Künstler DVNE haben seit ihrem zweiten Album, dem kaleidoskopisch hypnotisierenden "Etemen Aenka" aus dem Jahr 2021, mächtig Dampf gemacht. Die LP, ihre erste Veröffentlichung für das legendäre Label Metal Blade Records, war ein konzertierter Aufstieg für diese rätselhafte Band, der es DVNE ermöglichte, in Großbritannien und Europa auf Headline-Tour zu gehen und Spots auf so anspruchsvollen Festivals wie Hellfest, ArcTanGent, Desertfest, Damnation und Resurrection zu bekommen. Die Live-EP "Cycles Of Asphodel" aus dem Jahr 2022 mit neu interpretierten Titeln des Albums sorgte für eine stetig wachsende Fangemeinde, und jetzt, im Jahr 2024, wird das dritte Album "Voidkind" die fünfköpfige Band (mit Maxime Keller an den Keyboards) an die Spitze ihres Könnens katapultieren.

Soul Direction are pleased to announce a new member of the Family “Contempo Soul” series. This label will showcase more contemporary sounding soul from independent artists. Our first offering in conjunction with Kevin Edwards III, and with the help of Dave Thorley. The Keved Project (Feat. Delbert Nelson) – “Life Has Been a Thief” / “Spread Love” – SDCO-1001. Edwards was born in Hamtramck, Michigan in 1959. As a young boy listening to Jimi Hendrix play guitar on Band of Gypsies, he knew he wanted to be a guitar player. By 16 Edwards, was playing in a high school band and at local cabarets. In 1979 Edwards played with Sons, a local jazz band. The group played Top 40s in local venues and eventually opened for the nationally renowned group, Brainstorm, which recorded on the CBS label. Sons and Brainstorm merged in 1980. When Brainstorm broke up in the early '80s Edwards freelanced with several local groups. His career took a turn in 1984 when he began writing and recording his own music. Edwards drew from his experiences and the R & B and jazz classics he'd grown up listening to as his inspiration for writing. Two years later in 1986, Edwards expanded his skills even further when he started producing young local talent. He and a partner produced Rhapsody, a rap group that released several singles on the Giant Record Label. The year 1998 saw the beginning of a new era for Edwards when he and long-time friends Darryl Lee and Greg Nance formed Ground Level. Ground Level enjoyed tremendous success, opening for the Isley Brothers, LL Cool J, Roy Ayers, Ronnie Laws and the funk group Slave. The band received accolades and grew in popularity. In 2003 the band changed its name to Level Rizon, signifying its new status and the fact that they are no longer at "ground level." Level Rizon took a year off of performing to produce That Vibe. With That Vibe Edwards feels he has started a whole new genre of music he calls "NuUrban Soul." He describes NuUrban Soul as a unique blend of jazz-fusion and R & B that has not failed to delight audiences of all walks of life. Kevin has performed with the late Michael Henderson (R/B recording artist known for You are my Starship, Sending a Valentine, Wide Receiver) in 2014. Kevin has also has a certificate in Audio Engineering from the Recording Institute of Detroit, Associates of Science in Electrical Engineering Technology from Lawrence Technological University, and Bachelor of Science degree in Electrical Engineering Technology from ITT Tech. Kevin built, and operates his own recording studio, and is continuously writing and recording new music..

We are very happy to announce a new release on Mr. Bongo scheduled to be released on the 9th of June 2023. This is a repress of Rio de Janeiro's very own Bala Desejo's debut album "Sim Sim Sim". The album was previously only available on very limited runs in Japan and Brazil and it is now presented and available for worldwide distribution for the very first time.

Bala Desejo could be described as a supergroup, uniting some of the most talented musicians taking part in the current renaissance of the Rio de Janeiro sound. As solo musicians they have worked and collaborated with legends such as Gal Costa or Milton Nascimento. Together they decided to explore new routes and ways, channeling influences from the best of MPB into a fresh and innovative recipe.

Sim Sim Sim went on to win a Latin Grammy in 2022 for the Best Contemporary Pop album in Portuguese language and is the first testimony from one of the most fascinating outlets to come out of Brazil in recent years.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

"The Coroner's Gambit" wurde ursprünglich im Oktober 2000 veröffentlicht. Fünf der sechzehn Songs wurden im Studio von Simon Joyner in Omaha, Nebraska, aufgenommen, fünf weitere in John Darnielles Haus in Colo, Iowa, und der Rest in Ames. Das Album entstand langsam; die Mountain Goats hatten von von 1991 bis 1998 jedes Jahr Musik veröffentlicht, aber zwischen der Veröffentlichung der "New Asian Cinema" EP und "The Coroner's Gambit" verging das Jahr 1999 ohne eine offizielle Mountain Goats-Veröffentlichung. Die zusätzliche Zeit, die "The Coroner's Gambit" in Anspruch nahm hatte sich gelohnt: Es war ein Durchbruch für Darnielle als Songwriter und als Produzent des kompletten Albums, der sich als Gitarrist und auch stimmlich weiterentwickelt hatte. Seine Charaktere sind hier scharf gezeichnet, die makellose Überlieferung der Welten, in denen sie leben, bieten ihnen etwas Schutz vor dem Sturm. Die Mischung aus Heim- und Studioaufnahmen verleiht The Coroner's Gambit ein mitreißendes Gefühl der Unmittelbarkeit und deutete gleichzeitig in eine Zukunft, die die 2002 mit "All Hail West Texas" und "Tallahassee" anbrechen sollte. "The Coroner's Gambit" ist ein eigenständiges Meisterwerk, ein introspektives Epos, das Darnielles Ruf als einer der größten Songwriter unterstreicht, dessen Talent für bekenntnishafte Fabulierkunst nur wenige Rivalen kennt. In den Jahren nach der ursprünglichen Veröffentlichung von "The Coroner's Gambit" wurde es schwierig das Album in seiner Gesamtheit zu erfassen. Die LPs waren damals in einer Papiertüte untergebracht, bedruckt mit zusätzlichen von Darnielle verfassten Liner Notes. Eintausend Vinyl-Exemplare wurden herausgegeben und glaubt man den Berichten aus der Sammlerszene, haben weit weniger als eintausend dieser Papiertüten überlebt. So existiert der Text heute hauptsächlich durch Flickr-Alben und auf Fanseiten weiter. Die Neuauflage von 2024 kommt mit neuen Texten und Liner Notes von Darnielle für sowohl CD als auch LP.

Enjoy The Ride Records in conjunction with Paramount Pictures proudly presents Transformers: Age of Extinction: The EP, Music by Steve Jablonsky.

On June 30, 2014, Transformers: Age of Extinction: The EP was released, featuring four tracks as a teaser for the official score, which features variations of the four themes (including portions of "Battle Cry," performed by Imagine Dragons). When the full score from Transformers: Age of Extinction was released, it hit so many digital purchases and plays (not too surprising since the film was the highest-grossing film of 2014), that it legally had to be pulled down from streaming platforms. Thankfully, we are still able to enjoy the EP digitally, and now, on vinyl.

Transformers: Age of Extinction: The EP is available on vinyl for the first time. The jacket and full-color insert showcase stills from the film, and since this is an EP, the B-Side is screen-printed. There are 4 colorful variants, and the entire pressing is limited to 1,500 copies.

Lionel... Plays Drums, Vibes, Piano is a seminal album by Lionel Hampton and His Orchestra, where Hampton excels on tracks such as “Flying Home” and “Stardust”. His mastery of the drums, vibes, and piano is showcased, blending jazz, swing, and blues with unparalleled energy. This work, rich in innovative arrangements and memorable performances, embodies Hampton’s musical genius and his indelible impact on the world of jazz. Unavailable for many years, it is now released in a limited edition on TRANSPARENT ORANGE vinyl.

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover's sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Numero Group's definitive 2LP reissue of the original five-song mini-LP adds the group's first 12" (a cover of Jobim's "Girl From Ipanema," naturally), the Seaside Weekend 12", compilation tracks, and two previously unissued cuts, recasting this short-lived combo's forward-thinking milemarker as a modern-day masterstroke. 2x150g LP in a 2-pocket gatefold tip-on jacket with 2 printed inner sleeves.

Das phantastische Debutalbum der schwedischen Hard'n'Heavy Legende erstmalig auf grün transparentem Vinyl inklusive bedrucktem Innersleeve mit Lyrics und Liner Notes!

Mit "Of The Son And The Father" legte die Band aus Borlänge im Jahr 2002 den Grundstein für ihre bis zum heutigen Tag anhaltende erfolgreiche Karriere mit weltweiten Charterfolgen.
Stücke wie der Titelsong oder das epische "Cloudbreaker" sind nach wie vor fester Bestandteil eines jeden Astral Doors Konzerts.

Repress!
Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

Hey music lovers! The highly ancipated vinyl of Kentha by Ricky Fobis Feat. Lady Brian is finally here! This legendary track from the 2000s Techno scene has been making people dance for generaons and sll packs dance floors worldwide. It's an anthem for anyone who loves music that makes you move and groove!

The reissue is true to the original in every detail, a gem that can't be missed in your vinyl collecon. With a limited number of copies available, don’t miss your chance to own a piece of music history. Add Kentha to your collecon now and get ready to rock your house with its powerful beats.

Crazy kicker fearless sound...
With a solid kick and a badass violent snare you can practice sports during the night.

FIST OF FURY motorisé F1 d'éléphants Hotrebor & S.Y.R.O.B et le lasergun mitraille les jambes Not a DJ lacereur de guitare dans le vent siffleur Armaguet Nad et ses 356 BPM à Twin Peaks

Der Hip-Hop/House-Innovator Cakes Da Killa aus New Jersey schlägt mit 'Svengali' ein neues Kapitel in der Beziehung zwischen Hip-Hop und House Music auf. Sein zweites Studioalbum ist eine cineastische Liebesbeziehung von der ersten Begegnung bis zur Trennung, mit allen Höhen und Tiefen dazwischen. Die Beats des Produzenten Sam Katz bieten eine subtilere Stimmung als Cakes' energiegeladene Mixtapes, zudem gesellt sich ein Jazzeinfluss hinzu, der ihn mit den frühen Tagen der Queer-Kultur verbindet, der von ambitionierten Jazzliebhabern und New Yorker Jazzclubs hervorging, die zu Pionieren der House Music wurden.

Der Hip-Hop/House-Innovator Cakes Da Killa aus New Jersey schlägt mit 'Svengali' ein neues Kapitel in der Beziehung zwischen Hip-Hop und House Music auf. Sein zweites Studioalbum ist eine cineastische Liebesbeziehung von der ersten Begegnung bis zur Trennung, mit allen Höhen und Tiefen dazwischen. Die Beats des Produzenten Sam Katz bieten eine subtilere Stimmung als Cakes' energiegeladene Mixtapes, zudem gesellt sich ein Jazzeinfluss hinzu, der ihn mit den frühen Tagen der Queer-Kultur verbindet, der von ambitionierten Jazzliebhabern und New Yorker Jazzclubs hervorging, die zu Pionieren der House Music wurden.

Ire Works ist in vielerlei Hinsicht genauso erfolgreich wie sein Vorgängeralbum, aber kreativ verzweigter. DEP spielen weiterhin technischen Metal, knallharten Hardcore, Jazz-Breaks und Post-Punk, aber hier entwickeln sie sich weiter, indem sie mehr Wendungen mit zusätzlichen elektronischen Elementen zulassen.

Limitierte Vinylauflage in Black, Blue, Silver with Magenta, White!

ltd clear Vinyl, Die Musik der 22-jährigen Berlinerin in ihrer Essenz zu erfassen, bedeutet, sie zu hören; zu vielschichtig und dicht erscheint das gewebte Netz von Geschichten aus der Großstadt.

A true jack-of-all-trades, he has played and recorded virtually every style of music you can think of - Soul, Reggae, Jazz, Spirituals, Blues, African, Electro. Etc... Initially trained on classical piano, his musical career began in Brussels and Paris in the 50s. In the 60s, he flew to the Congo as a member of Joseph Kabasele's African Jazz group, Le Grand Kalle. Next came Cameroon in 1963, where he formed his own group before returning to Paris in 1965. For the Manu 76 album, we are - obviously - in 1976, still in Paris. Four years after his international breakthrough with his hit Soul Makossa, Manu assembled a prestigious cast of musicians including Jo Tongo on bass, Slim Pezin on guitar, Lucien Dobat (from Kassav) on drums, Alex Francfort on piano and 7-year-old Georgia Dibango as guest vocalist.

In einem elektrisierenden Kreativitätsschub sind die Southern-Rock-Giganten Robert Jon & The Wreck bereit, ihr bisher ehrgeizigstes Projekt vorzustellen: Red Moon Rising. Dieses bahnbrechende Album, das am 28. Juni über Bonamassas Journeyman Records erscheint, ist eine mutige Erklärung der Evolution und Wiedergeburt, fängt die Essenz der transformativen Jahre der Band ein und legt einen neuen Kurs für ihre musikalische Odyssee fest. Leadsingle und Titeltrack des Albums erweisen sich als Leuchtturm dieser neuen Ära der Rockmusik. CD mit Bonustrack, LP auf rot-schwarzem Splatter-Vinyl.

2LP - schwarzes, schweres Standard-Doppelvinyl; enthält einen exklusiven Hidden Track, bei dem der handgeschriebene Liedtext auf der D-Seite eingraviert ist.

Otherness" ist das zweite Studioalbum von Ferris & Sylvester. Die Musik erstreckt sich über ein Spektrum von psychedelischem Folk, Blues, Rock und Soul - und doch sind die Songs durch das starke und lebendige Storytelling des Duos verbunden. Anklänge an Alabama Shakes, Madison Cunningham und die Teskey Brothers schwingen mit. Aufgenommen im Studio der beiden auf einer Bandmaschine aus den 1960er Jahren und veröffentlicht über ihr Label Archtop Records, widmet das Ehepaar das Album "jedem, der sich als Außenseiter fühlt".

“Let us advance our mortal bodies up Where hearts and minds will go Let’s walk, let’s roll.” So sings Madeleine Peyroux on the upbeat title track of her captivating tenth album, Let’s Walk, the acclaimed singer-songwriter’s most assured, courageous work to date. Powered by the distinctive, honeyed croon that delivered her from the Paris streets to concert halls, these ten unabashedly personal songs, all co-written by the versatile Peyroux, deftly interweave jazz, folk, and chamber pop, with themes ranging from the confessional to the political, from whimsy to yearning. In every note, Peyroux digs deep, rendering this exquisite work with the disarming grace and gravitas of an artist in peak form. Let’s Walk was a long time coming, but well worth the wait. Following Peyroux’s 2018 album, Anthem, the enforced isolation of the global pandemic made any real-time community gathering impossible. From a creative standpoint, however, Covid offered Peyroux a silver lining: she seized the opportunity to hunker down with longtime collaborator, multi-instrumentalist Jon Herington (Steely Dan, Lucy Kaplansky). The pair reflected on the seismic era at hand and wrote and re-wrote in what Peyroux calls “a shadow of reckoning.” When multi-Emmy-and-Grammy-winning producer Elliott Scheiner (Fleetwood Mac, The Eagles) heard a sampling of the new material, including “Let’s Walk,” he mandated “no covers” for the album. The longtime studio veteran knew the time was ripe to highlight Peyroux’s incisive, often topical lyrics meshed with Herington’s ear for melody and arrangements.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Macht euch auf die unerbittliche Kraft der Metal-Legenden Anvil mit ihrem 20 Studio-Album "One and Only" gefasst.
Als Pioniere des Genres haben Anvil seit über vier Jahrzehnten Metal-Exzellenz geschmiedet, und "One and Only" ist ein Beweis für ihre anhaltende Kraft und ihren Einfluss. Ihr bereits 20. Studio-Album (!) zeigt Anvil von ihrer besten Seite und liefert eine unerbittliche Angriffswelle aus brennenden Riffs, donnernden Drums und hymnenhaften Refrains, die elektrisieren. Mit Tracks voller roher Energie und Leidenschaft, festigt "One and Only" den Platz von Anvil als wahre Meister des Heavy Metal.

Macht euch auf die unerbittliche Kraft der Metal-Legenden Anvil mit ihrem 20 (!) Studio-Album "One and Only" gefasst.
Als Pioniere des Genres haben Anvil seit über vier Jahrzehnten Metal-Exzellenz geschmiedet, und "One and Only" ist ein Beweis für ihre anhaltende Kraft und ihren Einfluss. Ihr bereits 20. Studio-Album (!) zeigt Anvil von ihrer besten Seite und liefert eine unerbittliche Angriffswelle aus brennenden Riffs, donnernden Drums und hymnenhaften Refrains, die elektrisieren. Mit Tracks voller roher Energie und Leidenschaft, festigt "One and Only" den Platz von Anvil als wahre Meister des Heavy Metal.

Sear Bliss liefern ihr Opus Magnum nach einer 30 Jahre langen Reise in die epische Dunkelheit ab - willkommen zu einer Reise in den Weltraum selbst,
dessen Göttlichkeit aus progressiven Komponenten und geschwärztem Chaos besteht: Sear Bliss' "Heavenly Down". Äußerlich mächtig und innerlich
erfüllend, wenden Ungarns metallische Vorreiter einmal mehr ihre charakteristische Formel an, Eleganz und Böses zu vereinen; zwei getrennte
Welten, die sich makellos zu einer besonderen Einheit von höchstem Rang verbinden. Heavenly Down" ist eine galaktische Reise, auf der Sear Bliss die
Regeln des experimentellen Metals neu schreiben, und die Reise ist sehr aufregend, glauben Sie uns: Obwohl "Heavenly Down" die üblichen Black
Metal-Qualitäten enthält, zeigt es eine saubere Form von Sear Bliss' eigener Originalität, gemischt mit einigen üblichen Ausstattungen. Wie nicht
anders zu erwarten, bewahren Sear Bliss ihre Blackened-Wurzeln mit epischen Tremolo-Picking-Passagen, feuernden Blastbeats und András Nagys
anmutigen Schreien, doch der Einsatz von schönen cleanen Gitarren und majestätischen Keyboards fügt dem bereits mächtigen Bild noch etwas
hinzu. Aber keine Angst vor zu viel sanftem Zeug, denn es gibt einige massive Headbanger-Riffs, die einem einfach die Augäpfel rausschreddern.

MERMAID'S TAILS ist ein kraftvoller Mid-Tempo-Track mit Deep-Soul-Flavour, Psyche-Einflüssen und einem starken Hip-Hop-Feeling. Der Song führt die Hörer durch die verträumten Sehnsüchte der perfekten Liebe. Die Melodie und der Text sind sowohl poetisch als auch trivial. Der Track verschmilzt Fantasie und Realität in einer Psyche Soul Stimmung. Der Bass ist schwer und tief, das Schlagzeug klingt wie ein Hip Hop Sample, während das Rhodes und die Gitarren satt sind. Zusammen mit dem Fuzz-Gegengesang und den Flötenimprovisationen bilden sie die perfekte Musik zu Rachel Yarabous intensiver und doch sehr sanfter Stimme.

KICK OFF THE ROAD ist ein Uptempo-Song mit bluesigen Strophen, einem starken, treibenden Beat und einem schweren, stampfenden Bass.
Sie führen uns zum funkigen Refrain voller Orgelschläge und Drum-Breaks. Das Stax-Feeling der Band vermischt sich mit den Einflüssen von James Brown bis zur Bridge, die den Song in eine erhabene, psychedelische Klammer treibt. In diesem Song singt Rachel Yarabou die Geschichte eines Mädchens, das seinen eigenen Weg gehen will und es vorzieht, die Straße zu verlassen, bis sie am Ziel ist. Christelle Amoussou, die Songwriterin der Band, schenkt uns eine weitere Soul-Hymne für die Freiheit und die Emanzipation der Frau.

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

The long-awaited analog reissue of 'JATAKA,' a pioneering 1978 album by synthesizer virtuoso Osamu Shoji (also known as Osamu Tokairin), is finally here!

‘JATAKA’ stands as an ambient to experimental synthesizer masterpiece from the late 70s, showcasing Osamu Shoji's prowess as a composer, arranger, and synthesizer player. The album features a total of 8 tracks, with highlights including "PYRAMID ION," where cosmic synth elements shine.

The anticipation for this reissue is palpable, as the album has become highly sought after in the used market, with its scarcity driving up prices and generating considerable interest from overseas enthusiasts!

FTB’s Iconic 1972 'Made In Japan' album finally reissued on vinyl!

Regarded as one of the boldest new rock bands of its time, Flower Travelin' Band (FTB) delivers a masterpiece with this album, exploring every imaginable avenue and showcasing the band's inherent charm. Notably, it marks their first recording venture in Canada. In our efforts to remain faithful to the original release, we've painstakingly selected materials for the reissue that closely resemble the original cardboard jacket.

Limited Edition 2024 Reissue of FTB's 1973 Album 'Make Up'

Recognized as one of the most influential new rock bands of their era, Flower Travelin' Band (FTB) presents their last offering of the decade, brimming with a raw, live energy that epitomizes their signature style. This album encapsulates the essence of the band's sound and ethos.

Produced by Flower Travelin' Band, Yuya Uchida, and Ikuzo Orita.

"Light Up The Sky" ist die zweite Veröffentlichung von SUNBOMB, der musikalischen Allianz zwischen zwei unerschütterlichen Vertretern der
amerikanischen Hard Rock/Metal Szene, Tracii Guns und Michael Sweet.
Es ist eine Hommage an den klassischen Heavy Metal der 80er Jahre und vereint Einflüsse klassischer Metal-Bands wie Black Sabbath, Ozzy Osbourne,
Dio und Judas Priest. Die Musik ist sehr heavy und fest in der Kategorie 'Metal' verankert, mit einem Augenzwinkern zu einem traditionellen Ansatz
des Genres. Während Tracii die Musik für das Album schrieb, machte die Tatsache, dass Michael Sweet auf den letzten Stryper-Alben einen
zunehmend härteren Stil verwendete, ihn zur perfekten Wahl für den Gesang auf dem Album.
Tracii ließ die Neuigkeiten über das neue Projekt in einem Tweet im März 2019 durchsickern, in dem er die Debüt-LP des Projekts als "die
Metal-Platte, die ich mit 17 Jahren gemacht hätte" beschrieb. Tracii hat auf dem Album alle Gitarren und den Bass gespielt, die Drums wurden von
Traciis altem L.A. Guns-Bandkollegen Adam Hamilton übernommen.

Nach 30 Jahren wird EDGE OF SANITYs bahnbrechendes viertes Album "Purgatory Afterglow" nun remastert und sogar von Songwriter/Frontmann/Produzent Dan Swanö (Opeth, Dissection, Katatonia, etc) neu abgemischt. Die Wiederveröffentlichung des 1994 erstmals erschienenen Albums ist nun endlich wieder als Limited Deluxe 2CD Jewelcase mit O-Card (mit der "Until Eternity Ends" 4-Track EP als Bonus) und auf verschiedenen 180g-Vinyl-Editionen erhältlich. Mit dem eingängigen "Twilight", dem fulminanten "Of Darksome Origin", dem langsamen "Velvet Dreams" und EDGE OF SANITYs Durchbruchshit "Black Tears" ist "Purgatory Afterglow" ein Triumph des modernen Death Metal. Diese 30th Anniversary Edition enthält den Original-Mix/Master und als Bonus einen Total Mix Rework des Albums, den Swanö als "lebendig und frisch" bezeichnet. Entdecke EDGE OF SANITYs "Purgatory Afterglow" neu, bevor X-Machines uns alle auslöschen!

NOTHING MORE, das dreifach für den Grammy nominierte Quartett aus San Antonio, Texas, meldet sich mit ihrem spannungsgeladenen 8. Studioalbum CARNAL zurück, das am 28. Juni über Better Noise Music erscheint. Das Album enthält 15 Songs mit selbstreflektierten, philosophischen Texten und ungeschminkten, massiven Hymnen. Seit ihrem Debüt im Jahr 2003 haben NOTHING MORE zwei #1 Singles "This is the Time (Ballast)" und "Go To War" im US Active Rock-Radio platziert und waren insgesamt sieben mal in den Top-10 vertreten. "CARNAL" demontiert eindrucksvoll ihre musikalische Kompetenz innerhalb des Rock-Genres und weit darüber hinaus.

"The Last of Us" (2013) war der Startschuss für ein bedeutendes Medienfranchise mit Videospielen und einer Fernsehserie. Bei Fans gilt es immer noch als eines der besten Spiele, die jemals entwickelt wurden. Der Plot enthüllt ein postapokalyptisches Szenario, in dem der Überlebende Joel das 14-jährige Mädchen Ellie aus einer bedrückenden Quarantänezone schmuggeln muss. Dies führt zu einer herzzerreißenden Reise durch die zerstörten USA. Der Soundtrack wurde vom zweifachen Oscar-Preisträger Gustavo Santaolalla komponiert. Die fesselnde Klanglandschaft verleiht der Geschichte eine weitere, tief emotionale Dimension. Mit der Veröffentlichung des "The Last of Us - 10th Anniversary Vinyl Box Sets" wird das zehnjährige Jubiläum des Spiels gefeiert. Dieses Set enthält Musik aus den Original-Alben "The Last of Us" sowie "The Last of Us Volume 2" - darunter selbstverständlich das legendäre Main Theme, das zu den prägnantesten Musikstücken in der Videospielwelt zählt.


The stunning new soundtrack to the highly anticipated game, ‘The Last of Us Part II’. ‘The Last of Us’ is one of the most successful video games of all time. It sold over 20 million copies worldwide since it was released in 2013. It’s sequel, ‘The Last of Us Part II’ is one of the most anticipated games of 2020 and has already won awards including a Golden Joystick Award, The Game Award and The Game Critics Award. ‘The Last of Us (Original Soundtrack)’, also scored by Gustavo Santaolalla sold more than 25K copies in the UK. Marketing.

The long running vessel for Cameron Stallones' psychedelic excursions, Sun Araw, returns to Discrepant after last year's split with Tarzana via Keroxen sister label (KRXN033).
Without much precedent in his own - already wide-ranging - back-catalog, 'Cetacean  Sensation' discards the dubby vibes, psych-rock sunburnt jams, tropical visions, or stalking sensibilities of such classic efforts as 'On Patrol' or 'Ancient Romans' towards a deeply focused and vivid solitary approach, while still retaining this Sun Araw blissed out escapist feeling.
Composed of hydrophone recordings of whales and dolphins sourced during a summer in Galicia, 'Cetacean Sensation' paints an impressionistic and sensory floating canvas that expertly escapes both academic-like documentarian purposes and any new-age spa vibrations one could associate with such subject matter. Processing those raw recordings into alluring collages that flow gracefully between moments of clear eco-location  and submerged impressions of wildlife social dynamics. By the third track - Dance of the Minke - we're introduced to this ringing MIDI tone that evokes a CD-ROM era of mystic educational programs and click-and-deploy strategies  that still feel very much like an unfulfilled future, conjured again by 'Spider Crab Elegy's sparse keyboard pads and sound effects that give way to this properly elegiac tentative melody. 'The Spider Crab Point' ends the album on a more uneasy vibe, with synth tones pointing towards no particular direction, confounding and strangely inviting at the same time. As sensations often do.
Music written and produced by Cameron Stallones using hydrophones and digital synthesisRecorded in 2019 in Galicia, ES
Mastering by Rashad Becker

Or Kantor, a respected tattoo artist and the creative force behind the renowned "Love Light" studio stepping into the music scene for the first time with his debut album "Sarda Sarda" blending the atmospheric tones of surf music with influences from Mediterranean ballads

Japan based indie rock band Emptei will be release latest 2nd album on vinyl.

Sounds dreamy, psychedelic and evergreen.Clear green vinyl.

Two years after the release of the Polarius EP Inner Voices Of A Clown, Danny Wolfers returns to Altered Circuits, this time under his best-known alias Legowelt, for Ruins Of Cracktopolis: a collection of "hymns to survive the dystopian circus of today's techno scene" in the artist's own words. On Do You Know Who You Never Be, a short staccato lead and dark chords revolve around a monolithic kick drum pattern that takes care of the cadence and bass. A mysterious vocoder and a laser sequence that gets torn and twisted to the max join, but the track never loses its steady pace - it gets help from shakers so much mixed to the front they could be lifted from a B'more track.

Amidst the effervescing 303 lines and bold drum sequences of In A Trance Dance All Night" Wolfers finds a canvas for a stretched synthesizer jam with eighties breaking allure. This melody, together with the pads and vocal, are drenched in reverb - they float like mist ascending from the The Hague dunes. Throughout Ruins Of Cracktopolis, more vintage Dutch West Coast, the hiss-laden broken beat that guides the bass sequences and ominous blippy synth patterns switches to a 4/4 structure and back. These make for captivating shifts in pace while the minor progressions continue unfolding. Like Twin Peaks targets prime energy once the arpeggiator sequence present from the start lowers an octave. The track runs smooth like a pomade slick-back; it's only tempered slightly when the crunchy kick and tom change place for a moody chord sequence break. Even if these four tracks target the club, they are equally suited for - quoting Wolfers again - "leisurely home listening". Their greatest strengths are, as so often, their melodic aspects.

The artist is known to be a synthesizer aficionado, but his unique personal touch immediately shines through no matter which gear he works with. The machines never seem to dominate the composing process; quite the opposite: it's as if he isn't programming or registering as much as trying to teach them his take on electronic music.

Die erste Live-Veröffentlichung von The Murlocs ist ein Set mit 22 Songs, das im Teragram Ballroom in Los Angeles aufgenommen wurde. Die Show bildete den Abschluss eines ereignisreichen Jahres 2022 für die in Melbourne ansässige Band, das die Veröffentlichung ihres sechsten Albums 'Rapscallion', einen Auftritt im Red Rocks (im Vorprogramm von King Gizzard, mit dem sich die Band zwei Mitglieder teilt) und ihre bisher größte Headliner-Tour in den USA beinhaltete. Auf 'Live at The Teragram Ballroom' sind unter anderem 'Rolling On' und 'Noble Soldier' zu hören. Gepresst auf grünem Splatter-Vinyl.