Search:ja

Finally available again – in a special new psychedelic splatter vinyl limited edition of 600 copies! Kvartetten Som Sprängde (The Quartet That Exploded) “Kattvals” (“Cat Waltz”). A reissue of one of the most beautiful and sought after psych rock, progressive pre-jazz rock instrumental albums ever recorded in Sweden. Originally released during the summer of 1973 by the obscure Gump label. Powered by a C-3 organ, Ludwig kit and 50-watt Marshall head with a home-built cabinet, this skilled 3-piece (not a quartet) absolutely soars and blast away heavenly. The delicate use of the studio echo-chamber lends a magical, gossamer reverb to the whole sound. Includes a 4-page insert with rare photos and extensive liner notes by Reine Fiske (Dungen).

Steph Richards has already made quite a name for herself in the worlds of avant garde music and creative jazz - She has recorded for Relative Pitch and Northern Spy, worked with Laurie Anderson, Anthony Braxton and Ravi Coltrane and studied with Wadada Leo Smith - As co-producer of the FONT Music Festival, Richards worked for years alongside fellow trumpeter Dave Douglas. Her records have been praised for displaying her evident virtuosity and inventiveness, the New York Times calling Richards "boldly inventive." NPR's Nate Chinen says Richards is "ingenious" and Downbeat insisted that she is "the latest figure of note" in jazz while All About Jazz cuts to the chase, saying simply, that Richards "kicks ass." It's an impressive history and litany of praise for a young trumpeter, but with her latest full-length for Northern Spy, Power Vibe, Richards pushes even further, marrying avant garde and cinematic moods with a kind of infectious and patently pleasing tunefulness that is certain to expand her dedicated audience even further. The addition of "sensory electronics" -- subtle but compelling textures and tactile rhythms which are physically triggered by drum-mounted sensors -- compels fascination here, interweaving a kind of aural hyper-lucidity throughout the record. Though boldly original, this music strides surefootedly alongside the work of contemporaries like Nicole Mitchell and Rob Mazurek and the late jaimie branch

SticklerPhonics explores a world of brass 'n' skin on debut album Technicolor Ghost Parade featurin drummer Scott Amendola, trombonist Danny Lubin-Laden and tenor saxophonist Raffi Garabedian. The trio revels "in a situation where there's no bass and no chords," Amendola says. "Our sound is ever evolving and there's a feeling we can go anywhere." Technicolor Ghost Parade plunges into the unmediated terrain that opens up in the absence of the usual guidelines, the trio revels "in a situation where there's no bass and no chords." The band is a volatile combo that draws on a vast continuum of jazz practices, from traditional jazz polyphony and ambient soundscapes to funk and free jazz. The trio can generate fierce grooves and render through-composed pieces with the textural acuity of a chamber ensemble. The canny use of electronics expands their sonic palette to the horizon.

A leading Norwegian bassist for over 30 years, ECM legend Arild Andersen forges promising relation-ships with two rising stars - Daniel Sommer (drums) and Rob Luft (guitar) in an expansive, playful exploration of song and collective improvisation. As Time Passes " is set to release on April 26th on April Records. Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over-dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of textures. Rendered in the stark beauty of Andersen"s bass lines, the nuanced strokes of Sommer"s drums, and capped with the lush, expansive timbres of Luft"s guitar, "As Time Passes" is a testament to enduring and ever ever-evolving wonder of Jazz.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band's story, Sonic Youth's `Walls Have Ears' appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of `Master Dik' to come later. With a bit of complexity to the situation of the release itself. But that's a different story. Deleted as quickly as it appeared then, it's now issued for the first time officially under the band's auspices. In this 2LP set brimming with primitive classics like "The Burning Spear", "I Love Her All The Time", "Death Valley 69" and "I'm Insane" (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board. The first two sides of `Walls' are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling "Expressway To Yr Skull" in glorious form. They tear it up especially on one trash-fi excerpt of "Blood On Brighton Beach" (actually "Making the Nature Scene") from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo's guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame. The record's second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London's Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on "Brother James", "Kill Yr Idols", "Flower" (Iisted as "The Word (E.V.O.L.)"), "Ghost Bitch" and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of "Speed JAMC", another offstage tape interlude playfully scrolling through one of that band's songs at fast-forward. This document remains an essential representation of some lean and mean years of the quartet's throttling march out into the world in the mid eighties. Coloured vinyl, one red, one yellow LP.

GoGo Penguin veröffentlichen auf der limitierten 180g Vinyl-EP "From The North - GoGo Penguin live in Manchester" subtile Neu-Arrangements von sieben bestehenden Titeln, die das aus Manchester stammende Jazz-Electronica Piano-Trio während der Konzerte ihrer 2023-Tour weiterentwickelt hat. Auf insgesamt 31 Minuten Spielzeit erkundet GoGo Penguin die Titel "Wave Decay, Ascent", "Friday Film Special", "Everything is going to be OK", "An Unbroken Thread of Awareness", "You're Stronger Than You Think" und "Parasite" vom Album "Everything is going to be OK" von 2023 und der EP "Between Two Waves" von 2022 in neuen, energetischen Live Versionen. "As the music was still fresh for us, it was nice to play it all live together in the same room. Every track that we recorded that day has made it onto the record and we're very happy to share our return to this studio with you".Aufgenommen wurde "From The North" in den legendären Old Granada TV-Studios in Manchester, wo schon die Beatles ihren ersten TV-Auftritt hatten und legendäre Bands wie Joy Division oder New Order ihre Fernseh-Debüts feierten. "Ever since we first stepped into it, we fell in love with the live room. We thought it had brilliant acoustics and the space had a lot of character and a fascinating history."

"ENDSTATION", das original im Jahre 2000 veröffentlichte, damals vorerst letzte Album der 78er Deutschpunk-Legende H.A.S.S.! 2024er Vinyl-Edition, 2023 komplett neu gemastert und abgemischt in dem Sound, den das Album verdient hat(te): Lieder wie "So wie die werd ich nie", das bitterböse "Mein Nachbar" oder "Versoffene Marie" oder "Totengräber" zeigen die Band auch zur Jahrtausendwende in Höchstform...die Hardcore-Punk-Style von Hass wird hier zum Teil mit rockigeren Klängen ergänzt, was eine perfekte Symbiose ergibt und erfrischend neue Facetten in der Discografie von Hass mit sich bringt. Leider war die Scheibe seinerzeit ziemlich "schwach" abgemischt, sodass einiges verloren ging. Zum Glück wurde das jetzt behoben und "Endstation", die letzte Scheibe noch mit Bandgründer und Songschreiber Peter ,Hecktor" Blümer am Mikro, klingt jetzt fett. Farbige Black & White Swirl 180gr LP mit neuem (2023er)Cover-Artwork, inside/out Sleeve plus Insert.

Great vocals from Capleton and Jr Cat on driving UK steppers riddims. Leeds' finest reggae rhythm constructors are back with an industrial strength combination enlisting two of Jamaica's top lyricists. Following the success of their last 12 inch release, Up Deh with Mark Iration, the duo have laid down two heavy duty slabs of pure sound system mayhem. Mercy features the unmistakable voice and flammable lyrics of ferocious rockstone deejay Capleton. Thunderclap gives a similarly hard stepping backdrop to the younger brother of Supercat, Junior Cat, who carries the hypnotic family style. The Capleton vocal comes with a pair of spiky, heavily filtered dubs, making mass movement a must. This release was originally due to come out in 2020, but got locked down in the lockdown and is now back due to popular demand.

Limited edition Cream and Black swirl PICTURE DISC is for Indie stores only.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Am 26.04.2024 erscheint das neue Belgrad Album "Lysis". Sieben Jahre sind seit ihrem selbstbetitelten Debüt-Album (Musikexpress: "Die ernsthafteste deutsche Platte das Jahres.") vergangen. Die Band aus Hamburg und Berlin hat sich Zeit genommen und erwartet dies auch von den Hörer*innen: Es ist die erste Doppel-LP auf dem Zeitstrafe Label - rund 75 Minuten Musik für alle, die sich das in dieser Playlist-dominierten Ära noch zutrauen. Wer es tut, wird mit zwölf außergewöhnlichen Songs beschenkt, die die Aufmerksamkeit und Spannung konstant hochhalten. Die Klammer des Albums sind der Prolog (gesprochen von Jürgen Vogel) und der Epilog, die "Lysis" so sanft wie inhaltlich niederschmetternd einrahmen, dass man am Ende ersteinmal tief Luft holen muss. Hier tut sich eine Welt auf, die viel mehr ist, als nur eine Aneinanderreihung von Songs. Es wird keine Singles geben. Es wird keine Promoschnippsel, Teaser oder Shout-outs geben. Keinen Vorlauf. Hier ist "Lysis" von Hendrik Rosenkranz, Lev Leopoldowitsch und Stephan Mahler. Ein meisterliches Postpunk-Manifest, in Gänze.

20204 Reissue

Nach Acid Kings hochgelobtem 2023er Album Beyond Vision, das weltweit große Aufmerksamkeit erregte und sogar in die Billboard Top 100 Albums Charts einstieg, präsentiert Blues Funeral eine brandneue, aktualisierte Ausgabe des 2015er Werks der Band. Middle of Nowhere, Center of Everywhere, das von vielen als Acid Kings bestes Werk angesehen wird, wurde auf seinem ursprünglichen Label nur in begrenzter Auflage veröffentlicht und ist seit geraumer Zeit vergriffen. Zur Feier des 30-jährigen Bestehens einer der kultigsten Bands des Heavy Undergrounds präsentiert diese neue Blues Funeral Edition das bahnbrechende Doppelalbum mit aktualisiertem Artwork und einer exklusiven mehrfarbigen Vinyl-Konfiguration speziell für den Record Store Day. Gatefold 2xLP mit siebbedruckter Seite D. Aktualisiertes Cover-Artwork, Siebdruck auf Seite D und neue exklusive, mehrfarbige Vinyl-Editionen für jedes RSD-Gebiet! Die Vinylfarbe für RSD GER & EU ist Orange mit weißem Galaxy/Mamor-Effekt, limitiert auf 500 Stück.

1000 copies worldwide. Deluxe freshly remastered edition of Royal Trux's seminal debut album, originally released on their own Royal Records label in 1988. Fierce and uncompromising, this long overdue re-issue comes with rejuvenated artwork and brand-new liner notes. Formed in 1987 by Neil Hagerty (vocals, guitar), formerly of Pussy Galore, and his then girlfriend Jennifer Herrema (vocals), Royal Trux successfully dismantled alternative rock with a discordant guitar and time signatures akin to Miles Davis on an unholy mission circa 'Bitches Brew' or Manson strumming in his prison cell. Often described as a garage rock act, Royal Trux were far more complex, an unravelling surge of ideas, influences, mangled theories and out-there meandering, setting the blueprint for lo-fi indie amid their intricate reflections on their self-destructive lifestyle. "Their music was wild and their lives even wilder." The Guardian // "A chop-shop approach to pop history." Pitchfork

Japanese radio edit single of "Harvest Time / Love Will Find Way" is a complement to Pharoah Sanders" seminal album from 1977 Pharoah.

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Ltd Edition!

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Tanz ist das zentrale Thema des fünften Studioalbums "Fearless Movement" von Kamasi Washington. Dass er sich dem Tanz zuwendet und das Publikum mitnimmt, ist eine natürliche Weiterentwicklung von Washingtons fortwährender Beschäftigung mit Musik als Mittel der zwischenmenschlichen Verbindung. "The Epic" von 2015 und "Heaven and Earth" von 2018 waren Alben, die Genregrenzen überwunden haben und eine neue Generation in die Jazz Musik einführte. Beide Platten waren musikalischen Epen mit viel Chor und Streichern, "Fearless Movement" hingegen bietet etwas anderes. Es klingt immer noch gewaltig, aber rhythmischer - denn dieses Mal hat er den Rap in seinen musikalischen Kosmos geholt. "Die Welt ist stehen geblieben, aber ich habe definitiv nicht aufgehört", sagt Washington. "Fearless Movement" begann in den Tagen der globalen Pandemie. "Meine Tochter wurde genau in der Mitte davon geboren. Das sind zwei ziemlich große und monumentale Dinge, die gleichzeitig passieren". Das Elternsein hat Washington ein neues Gefühl der Dankbarkeit gegeben. Während die Tourneen pausierten, verbrachten sie die ersten Jahre damit, gemeinsam Washingtons Lieblingsplatten von John Coltrane, Ornette Coleman und Eric Dolphy zu hören. "Ich wollte ihr all die beste Musik zeigen", sagt er. Und eines Tages, als sie knapp zwei Jahre alt war, fiel ihr eine Melodie ein. "Wir spielten auf dem Klavier, und sie spielte sie einfach immer wieder", sagt er. Aus dieser Melodie wurde der Song "Asha The First". Washington und seine langjährigen Bandmitglieder nahmen die Melodie auf und ließen einige Lücken offen, die ein potenzieller Gast füllen sollte. " In Leimert Park, wo ich aufgewachsen bin, ist die Schnittmenge zwischen Jazz und Hip-Hop sehr groß". Also zog er Taj und Ras Austin hinzu, das Rap-Duo Coast Contra und Söhne des L.A.-Rappers Ras Kass, die er beim Herumstöbern auf YouTube entdeckt hatte. Washingtons langjähriger Freund und Kollaborateur Thundercat ist ebenfalls auf "Asha The First" zu hören. Washington ist nicht der Einzige, der auf "Fearless Movement" mit den Konventionen bricht. Andre 3000, der vielleicht beste Stilist des Rap, spielt sein allererstes Flötenfeature auf "Dream State". "Fearless Movement" vermittelt ein Gefühl der Verbundenheit, das Washingtons Arbeit über die Zeit hinweg mit der Black Music in L.A. verbindet - von der Vergangenheit über die Gegenwart bis zur Zukunft. Auf dem entspannten und funkigen "Get Lit", bei dem es darum geht, das Licht in jedem von uns zu nutzen, um unsere Gemeinschaften aufzubauen, bringt Washington den legendären Bandleader George Clinton und den Rapper D Smoke für einen der coolsten Tracks des Albums zusammen. Dieses Ethos der Elastizität und der Möglichkeiten erstreckt sich auch auf die Mitglieder von Washingtons Band, von denen einige auf dem Album zu hören sind. Unter ihnen auch Sängerin Patrice Quinn, Saxophonist Terrace Martin, Bassist Thundercat und Schlagzeuger Ronald Bruner Jr., DJ Battlecat und BJ The Chicago Kid. Die stetige Bewegung und Flexibiltät verleiht den neuen Songs eine gewisse Geschmeidigkeit, sowohl thematisch als auch musikalisch.

Tanz ist das zentrale Thema des fünften Studioalbums "Fearless Movement" von Kamasi Washington. Dass er sich dem Tanz zuwendet und das Publikum mitnimmt, ist eine natürliche Weiterentwicklung von Washingtons fortwährender Beschäftigung mit Musik als Mittel der zwischenmenschlichen Verbindung. "The Epic" von 2015 und "Heaven and Earth" von 2018 waren Alben, die Genregrenzen überwunden haben und eine neue Generation in die Jazz Musik einführte. Beide Platten waren musikalischen Epen mit viel Chor und Streichern, "Fearless Movement" hingegen bietet etwas anderes. Es klingt immer noch gewaltig, aber rhythmischer - denn dieses Mal hat er den Rap in seinen musikalischen Kosmos geholt. "Die Welt ist stehen geblieben, aber ich habe definitiv nicht aufgehört", sagt Washington. "Fearless Movement" begann in den Tagen der globalen Pandemie. "Meine Tochter wurde genau in der Mitte davon geboren. Das sind zwei ziemlich große und monumentale Dinge, die gleichzeitig passieren". Das Elternsein hat Washington ein neues Gefühl der Dankbarkeit gegeben. Während die Tourneen pausierten, verbrachten sie die ersten Jahre damit, gemeinsam Washingtons Lieblingsplatten von John Coltrane, Ornette Coleman und Eric Dolphy zu hören. "Ich wollte ihr all die beste Musik zeigen", sagt er. Und eines Tages, als sie knapp zwei Jahre alt war, fiel ihr eine Melodie ein. "Wir spielten auf dem Klavier, und sie spielte sie einfach immer wieder", sagt er. Aus dieser Melodie wurde der Song "Asha The First". Washington und seine langjährigen Bandmitglieder nahmen die Melodie auf und ließen einige Lücken offen, die ein potenzieller Gast füllen sollte. " In Leimert Park, wo ich aufgewachsen bin, ist die Schnittmenge zwischen Jazz und Hip-Hop sehr groß". Also zog er Taj und Ras Austin hinzu, das Rap-Duo Coast Contra und Söhne des L.A.-Rappers Ras Kass, die er beim Herumstöbern auf YouTube entdeckt hatte. Washingtons langjähriger Freund und Kollaborateur Thundercat ist ebenfalls auf "Asha The First" zu hören. Washington ist nicht der Einzige, der auf "Fearless Movement" mit den Konventionen bricht. Andre 3000, der vielleicht beste Stilist des Rap, spielt sein allererstes Flötenfeature auf "Dream State". "Fearless Movement" vermittelt ein Gefühl der Verbundenheit, das Washingtons Arbeit über die Zeit hinweg mit der Black Music in L.A. verbindet - von der Vergangenheit über die Gegenwart bis zur Zukunft. Auf dem entspannten und funkigen "Get Lit", bei dem es darum geht, das Licht in jedem von uns zu nutzen, um unsere Gemeinschaften aufzubauen, bringt Washington den legendären Bandleader George Clinton und den Rapper D Smoke für einen der coolsten Tracks des Albums zusammen. Dieses Ethos der Elastizität und der Möglichkeiten erstreckt sich auch auf die Mitglieder von Washingtons Band, von denen einige auf dem Album zu hören sind. Unter ihnen auch Sängerin Patrice Quinn, Saxophonist Terrace Martin, Bassist Thundercat und Schlagzeuger Ronald Bruner Jr., DJ Battlecat und BJ The Chicago Kid. Die stetige Bewegung und Flexibiltät verleiht den neuen Songs eine gewisse Geschmeidigkeit, sowohl thematisch als auch musikalisch.

Nach ihrem im Jahr 2022 erschienenen Album “Midnights“ veröffentlicht Taylor Swift mit „The Tortured Poets Department“ jetzt ihr 11tes Studioalbum. Bereits im letzten Jahr hat sie die Neuaufnahmen (Taylor’s Version) ihrer Alben „Speak Now“ und „1989“ mit ihren Fans geteilt. Die 14-fache Grammy-Gewinnerin hat ihr neues Album "The Tortured Poets Department" angekündigt, während sie bei der Grammy-Verleihung den Preis für das beste Pop-Gesangsalbum entgegennahm. Sie bezeichnet das Album “The Tortured Poets Department“ als ihren “Rettungsanker“, der sie daran erinnert hat, warum das Songwriting für sie so wichtig ist. Swift arbeitet seit über zwei Jahren an dem Album, in dem sie ihre einzigartigen Fähigkeiten zum Songwriting und Storytelling unter Beweis stellt. Sie sagte selbst über das Album während ihrer Show in Melbourne: "I've never had an album where I needed songwriting more than I needed it on 'Tortured Poets." Das Album besteht aus 16 Tracks + Bonus Track “The Manuscript” und ist erhältlich als CD und Ivory Doppelvinyl.

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

The music of Large Plants could be characterised as psych rock, with this outing having a folkier, proggier and more fantastic feel than the heavier biker-rock of the 2022 debut, The Carrier. The tracks on The Thorn also weave synths into the traditional four-piece sound palette.

The Thorn was partly recorded at the same time as the The Carrier, with more songs added subsequently. However, all tracks for both albums were recorded and performed entirely by Jack Sharp in a barn, since demolished. “It was a dirty, rusty, metal shack with no insulation or sound treatment, and it was full of junk, but it sounded weirdly great, and I loved it.” Sharp told Shindig magazine.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

WHITE COLORED VINYL

9-piece powerhouse Nubiyan Twist embark on a fresh musical odyssey with their vibrant fourth album "Find Your Flame". Over 12-track the band seamlessly weaves together global grooves, soul and jazz; expertly intertwined with electronic elements, horn-led melodies and spontaneous improvisation. The album marks a significant evolution for the group as they welcome Sheffieldbased vocalist Aziza Jaye to the forefront, adding a fresh dimension of Patois and RnB to their sound.

Ibelisse Guardia Ferragutti is an Amsterdam-based mutli-medium artist who has worked as a performer, theatre maker, vocalist, visual artist, musician and teacher. Raised in Bolivia within Bolivian and Brazilian families. Her notable musical collaborators include: Alabaster DePlume, jaimie branch, Ab Baars, Wilbert de Joode, Eric Boeren, Mary Oliver, Paul Koek, and The Paper Ensemble. Frank Rosaly is a Puerto Rican drummer, composer, and sound designer with several decades of touring, performing, recording, and creating to his name. Born and raised in Arizona, Rosaly was known for his fifteen years of creative work on the Chicago jazz and improvised music scene, before moving to his current residence in Amsterdam, The Netherlands, in 2016.

Let's celebrate 20 years of WeMe records!

Experimental Japanese operator Lemna returns to Mantis with another five intricately sculpted cuts that toy with tension, release and the mysterious atmosphere of the forest at dawn. Lemna adopts a considered, patient approach to her music practice, creating interlocking rhythms which take cues from Autonomic fragmentation as much as techno hypnosis, but it's the spatial pressure and textural sound design which makes her music truly fly. Taking predawn walks in woods at the foot of the mountain she calls home, she drew inspiration from five different organisms within the vibrant ecosystem around her to create a collection of tracks she aptly refers to as 'Nocturnal Assembly'.

Lips & Rhythm sails into Summer 2024 with a fresh EP from Residentes Balearicos.

The Ibiza-based duo of Alessandro Doretto and Luca Averna have been turning out sun-soaked dance music for several years now from their studio in the islands.

The title track 'Paraiso' is a timeless tune with just the right blend of slowed down Acid and Flamenco guitar + claps.

'Polvo Mineral' is a bit mysterious with ethereal pads, big drum fills and chanting.

'I Wanna Dance' harkens back to the beautiful Italian Dream House era from the early 90s with lush chimes and driving synth lines over pitched down vocals and uplifting backing harmonies.

The remix of 'Paraiso' is from Brazil-born, New York formed, Gaspar Muniz, who reworks the title track into a breaky electro number fit for a late night in Rio De Janeiro.

A summer record that's been dance-floor tested!

James’ longevity – with over 25 million albums sold over their 42-year career and their celebrated reunion period since 2007 earning them more Top 20 album placings and faster ticket sales than their whirlwind initial run from 1982 to 2001 - is miraculous itself, but with simple cause. James, you see, are more than a band; they’re sonic belongingYummy – the band’s 18th studio album – is a quintessential James record: comforting yet adventurous, electronic yet human, dark yet life-affirming, experimental yet familiar, heart-warming yet deeply introspective on both the personal and human scale. “This record is really uplifting and joyful, but a lot of that comes from the music,” says singer Tim Booth of a career-high album that confronts ageism, conspiracy theory, AI control, the mental health pandemic, ecological apocalypse, mortality and modern love in all its shades. “Some of the lyrics are pretty hard-nosed.” UK Arena tour with special guests Razorlight in June 2024. 'Yummy' has already received 4/5 in MOJO, 4.5/5 in Classic Pop Magazine and 7/10 in Uncut

The first regular Dave Brubeck Quartet with Paul Desmond included Joe Dodge on drums and, alternatively, brothers Bob or Norman Bates on bass. In 1956 Joe Morello took over as the quartet’s drummer in place of Dodge (the Bates brothers would be replaced by Eugene Wright on bass a few months after the recording of this album, and with his arrival the “Classic Quartet” was born). Jazz Goes to Junior College is, therefore, a recording that shows a transitional phase of the quartet. It also marks a return to “live” albums after making various studio LPs. This was a “sequel” to the Brubeck Quartet hit Jazz Goes to College, recorded during various college concerts in 1954. THE COMPLETE ALBUM - 180-gram VIRGIN VINYL - LIMITED EDITION -

One of the finest groups of the late 50s, the Jazz Lab was co-led by the inimitable horn players Gigi Gryce and Donald Byrd. Although the group worked extensively from February to September of 1957 it broke up shortly after. However, all of their albums together have become jazz classics, among them the group’s first LP, presented here. 180-gram VIRGIN VINYL LIMITED EDITION. The Complete Album + 1 Bonus Track

Soul Jazz Records’ Down Beat Special is a roller-coaster ‘greatest hits’ ride through many of the all-time classic tunes hand-picked from across the mighty vaults of, without doubt, Jamaica’s finest ever record label and pioneering powerhouse of reggae music. Seminal tracks such as Michigan and Smiley’s ‘Nice Up The Dance’, Dawn Penn’s ‘No, No, No’, The Wailers’ ‘Simmer Down’, The Eternals’ ‘Queen of the Minstrels’… and on it goes.

Non-stop BIG tunes. Down Beat Special is an essential primer to Studio One Records. Originally released as a one-off pressing limited edition (long-since deleted) 7” box set, this new edition is fully remastered and expanded to a massive 18 super rare and killer cuts from the Studio One empire. Featuring the Skatalites, Jackie Mittoo, Bob Marley & The Wailers, Horace Andy, Alton Ellis, Lone Ranger and many more, the album features rare and classic tracks throughout. Newly commissioned sleevenotes by Noel Hawks (History of the Jamaican Recording Industry) features a track by track historical and musical analysis, label scans and more added to this fantastic collection.

The infamous and legendary "Jah Life in Dub" LP, finally released. Originally slated for release in late '80/early '81, this was to be Jah Life's first dub LP, featuring all exclusive mixes to now-classic Barrington Levy tunes. For one reason or another, the LP was never released. To confuse matters, a couple years later, some of the unused jackets were given to Germain to house an untitled dub LP of his productions. Naturally, we needed to rectify this situation. So here it is, finally released 34 years later! Featuring ten killer dubs to Barrington Levy tunes, ALL MIXED BY SCIENTIST AT KING TUBBY'S. Six out of the ten tracks are previously unreleased mixes, including a dub to the song "Jah Life" which has never been available anywhere before. As an added bonus, the first pressing of this LP will come housed in the original jackets from 1980, which features killer artwork by Oneil Nanco.

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

An essential figure in the fusion between jazz and bossa nova, pianist and composer Sérgio Mendes has over 55 releases under his own name. He was nominated for an Academy Award for Best Original Song in 2012 for "Real in Rio" from the animated film Rio. This release presents the complete original album In the Brazilian Bag!, which finds him on piano in the company of American alto sax player Bud Shank, guitarist Rosinha de Valença, Sebastião Neto on bass, and Chico Batera on drums. Singer Wanda de Sah contributes her vocals on a few songs

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

Auch nach über 35 Jahren ist die Kreativität des norwegischen Duos ungebremst, und auf den 7 neuen Tracks loten Fenriz und Nocturno Culto die Grenzen ihres Black MetalKosmos erneut aus. Ein herausforderndes und abwechslungsreiches Set zeitloser Hymnen - von melodisch über düster und atmosphärisch bis hin zu schwarzen Klageliedern, die von Darkthrones unverkennbarem Riffi ng leben. Eine Verneigung vor den alten Idolen Celtic Frost darf natürlich auch nicht fehlen.

Auch nach über 35 Jahren ist die Kreativität des norwegischen Duos ungebremst, und auf den 7 neuen Tracks loten Fenriz und Nocturno Culto die Grenzen ihres Black MetalKosmos erneut aus. Ein herausforderndes und abwechslungsreiches Set zeitloser Hymnen - von melodisch über düster und atmosphärisch bis hin zu schwarzen Klageliedern, die von Darkthrones unverkennbarem Riffi ng leben. Eine Verneigung vor den alten Idolen Celtic Frost darf natürlich auch nicht fehlen.