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When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously. That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’.

The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year. No surprise, it was head and shoulders above the rest.

Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969. Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’.

Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio. It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

• Samples Main Ingredient’s ‘Magic Shoes’ and Grady Tate’s frequently sampled ‘Be Black Baby’

• First ever 7” release of the Remix

• Also available on Limited Edition Neon Green vinyl

Most of the songs were recorded in my flat on cassette or digital four track recorders, although a couple were done in my much-lamented studio above a morgue in The Anatomy Rooms.

Very limited 12” – 1 run only – Solid Blue 12’’ vinyl. 4/4 printed sleeve. 5 track EP.

Features the original version of “Moving Men” (feat. Mac de Marco) and 4 remixes by METRONOMY, GASPARD AUGÉ (from JUSTICE) & VICTOR LE MASNE, BOB SINCLAR & PANTEROS666.
Teaser of the forthcoming 1st album by Myd to be released in Spring 2021 on Ed Banger Records / Because Music.

Introducing the first 7" single from bassist & composer Shay Hazan and his quintet from Tel-Aviv, Israel.

Dedicated to saxophonist Albert Beger, a mainstay of Israeli jazz and Hazan mentor, 'Berber's Cha Cha' is an uptempo piano-led waltz, redolent of classic Prestige Records soul-jazz, especially when some urgent horn charts turn up the heat. It's a corker!

While on the underbelly, 'Old Tart' sounds like nothing less than a lost gem from the Brecht/Weil songbook. Lugubrious and magnificent, this world-weary vocal cut is more than a match for the nominal A-side.

Destined for the hippest jukeboxes in the hippest joints in the country, this milestone tenth release in Jazzman's estimable JAZZ45 series keeps standards impossibly high.

Our JAZZ45 label features original artwork and original music on each and every release, and are limited to just 600 copies worldwide!

We did already reissue Between's "And The Waters Opened" ten years ago and it sold out very fast. Since then, many of you have kept asking for copies of it, so we've just done a new deal to produce a new run of 500 copies only. This is one of the most interesting kraut LPs, be sure to grab a copy for your collection!

First released in Vertigo in 1972 and often regarded as Between's most exotic and beautiful opus, it is a huge droning masterpiece with oriental nuances that might recall Popol Vuh, Fripp and Eno or Taj Mahal Travellers. A classic album from the early German 1970s scene!

Credited as one of the best late '60s German psych-rock albums, Bokaj Retsiem's ('meister Jakob' in reverse) Psychedelic Underground is an eccentric, soulful, acidn and fuzzy rockin' essay that clearly prefigures a part of the krautrock movement. Featuring Rainer Deigner, former guitar for the '60s beat German group Former Bonds, as the only credited musician and composer on this album (although other musicians assisted him on bass, keyboards, and that B3 Hammond and Leslie sound), this is basically Rainer's freaked-out tribute to his favorite children's song, 'Meister Jakob,' consisting in trippy instrumental sections, furiously savage E-guitar crescendos, amazing psych-rock improvisation, with just a hint of '60s US psych-garage. A real enthusiastic psych-kraut trip for fans of Vanilla Fudge, Hendrix,and Iron Butterfly.

Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

Crepuscule presents La Jungle, a brand new electropop single by acclaimed Belgian DJ, producer and remixer Buscemi, featuring with vocal and lyrics by compelling newcomer Lauvé.

The vinyl single is a limited edition edition of 500 copies in orange vinyl, with cover photography by Laura Levasseur.

Since 2001 Buscemi (real name Dirk Swartenbroekx) has released eight solo long players as well as mix albums for Blue Note and Ministry of Sound, and also film and television soundtracks.

Remix clients include Melody Gardot, Isabelle Antena, Calexico, Hooverphonic and Nicola Conte. Seaside, his 2003 collaboration with Isabelle Antena from signature album Camino Real, remains a perennial favourite around the globe. His eighth studio album, Luna Misteriosa, was issued by Crepuscule in 2018.

Hard-edged retrofuturist synthpop track La Jungle heralds forthcoming album Mistral du Sud (TWI 1250) and features guest vocals from Lauvé, formerly of Brussels electronic pop duo P.A.N.T.H.E.R. “La Jungle is about a man-eater,” explains Lauvé (pronounced lo-vay). “She seduces her prey, little by little – then either devours him, or drives him away. It’s a song that allows a woman to have control over the game of seduction. It’s empowering, I hope – but with a hint of recklessness too.”

Bristol's Jurango kicks off 2021 in fine style with the 'Retreat Ites' EP for the Livity Sound Reverse series.

From the paranoid echo of the title track to the dark mutant dancehall of 'Theeves', Jurango crafts heavyweight ice cold drum and bass rhythms exploring the outer reaches of soundsystem music in true school Bristol fashion, placing him amongst peers such as Laksa, Batu and Lurka.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Lost Horizons release their new album ‘In Quiet Moments’ via Bella Union. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.
In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, ‘Ojalá’ - the Spanish word for ‘hopefully’ or ‘God willing.’
“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!” Thomas’ hopes had a mixed response.
On the plus side, the new Lost Horizons album ‘In Quiet Moments’ is an even stronger successor to ‘Ojalá’ with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously freeflowing and loose-limbed blueprint that one writer astutely labelled, “melancholydelia.”
On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief.
“The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”
Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.’”
Lost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.
“I think ‘In Quiet Moments’ is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.”
Coloured vinyl 2LP (disc one green, disc two blue) in PVC outer sleeve with printed text, 350gsm wide spined sleeve on uncoated/reverse board, 16pg booklet on standard paper with contributions from all featured artists and digital download code.

‘Little Oblivions’ is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights.
It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo and mandolin, with nearly all of the instruments performed by Baker.

‘The Darkest Skies Are The Brightest’ is Anneke van Giersbergen’s 23rd career album. It was created in a time of personal crisis, with just an acoustic guitar and basic recording gear, in a small house near the woods just outside of Anneke’s hometown, and it grew into something much bigger. Lyrically, and musically, the award-winning Dutch artist lays her soul bare with the most evocative record of her career – captivating song-stories told with acoustic guitars, strings, horns, percussion, and Anneke's hypnotic vocal harmonies, combined with surprising departures into swampier, foot-stomping grooves.

LTD edition... Crossbredd at Radio Bomb is an original adventure.
Producting Hardcore/jungle since 1994 Alex Aka Radio Bomb saw the "crossbreed" name taken by a more formated style, very drum & bass oriented while this original style was more jungle. Here comes a collection of 4 tunes exposing his point of view on this "name style".

So here come the original X Breed style !

Fountains of Wayne is one of those rare bands that digs back into what pop music is all about -- good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The songwriting is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album - very few albums released in the 90’s are this pleasant, charming, and all-round likeable. The record is now available on transparent red coloured vinyl, in a limited edition of 1500 copies.

Transparent Red Vinyls

"Iza jinjô ni… Shôbu!” Be prepared for the battle!

Wayô Records and SNK Corporation are pleased to announce their first collaboration project! For the coming of the new Samurai Shodown game from the legendary fighting game series, we are proud to present the international release of its soundtrack in both CD and Vinyl formats!

With its beautiful Japanese instruments, the music of Samurai Shodown (2019) combines the power of modern times with the spirit from the roots of the series, performed by the best traditional Japanese players, including the legendary HIDE×HIDE duo! This soundtrack features the theme song Revive the Soul and each of the character themes, for a total of two hours of epic music!

The original soundtrack on Vinyl includes 19 tracks on two 180g LP red-marbled discs in separate sleeve into a gatefold package.

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

Remastered Limited Blue Vinyl with Gatefold Sleeve.
Includes A2 poster and 3 art prints of each individual band member.

Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy’s Whamm! record label, ‘Modesty Blaise’ earlier in the year. This was singled out in the music press as not just one of your average Jam crash / bang /wallop mod revivalist tunes.
Live gigs showed they had a mighty powerful set of catchy mod / pop tunes in the back pocket. Whamm! were struggling to provide the funds to record an album, the songs were too good not to commit to a full 12’ set, so the Direct Hits pooled their limited resources and self financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound.
Early on the morning of August 12th 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover and their trusty roadie ‘Robbo’ assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band’s busy live schedule, the recording of the first nine songs on this disc were finished by mid afternoon without any problems. Throughout the late afternoon and early evening the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster’s stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the days work, clutching the precious reel to reel tape.
Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their ‘Blow Up’ debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984.
So what you have here are the roots of some of these great songs. A few didn’t make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements.
The Broadway Recording Sessions take you right back to where it all started!

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

Repress

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.
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Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

A fixture on Copenhagen's music scene for nearly two decades, Nikolaj Jakobsen, aka Sugar, has to date thrived on concentrating - usually to the point of obsession - on one type of music at a time. Early on, it was punk: from his mid-teens he lived in the legendary squat and artistic community Ungdomshuset, toured worldwide with punk and metal bands, and was completely immersed in and dedicated to the city's DIY punk and metal scene.

Then in 2012 he set foot in a techno club for the first time, and his laser-like focus turned in that direction. Jakobsen began producing fast techno under the Sugar alias, and co-founded Fast Forward Productions, an agency and party that has gathered together the city's previously disparate band of fast techno and trance producers, DJs and collectives. Fast Forward has been instrumental in launching the careers of the likes of Schacke, Repro, Funeral Future and Rune Bagge, as well as Jakobsen himself.

Now Jakobsen is launching a new label that, even down to its name, is an open challenge to himself to focus on multiple musical styles at once. Perfumery, of which the Eyes Cream EP is the inaugural release, will be a home for his productions under the Sugar name and other aliases, as well as collaborative efforts with others. The label's open remit defies definitive categorisation of is to come, but its second release will be an abstract, atmospheric album by the cimbalom and tuba player and composer Anders Bo Eriksen, aka OPICA. On that record's heels will be collaborative projects with D.Dan and HVAD, as well as an experimental-minded debut LP by Jakobsen as Sugar.

Though Perfumery will be a platform for the exploration of new musical territories, Eyes Cream comprises four fast-techno hardware jams in Jakobsen's signature style. As well as showing off his knack for punning in a second language, opener Bright Side Of The Spoon is a classic Copenhagen splicing of darkness and light, with insistent, ominous bass waves leavened by twinkling synth textures. On the surface the middle two tracks, Eyes Cream and Try Me, are harder, flintier, Detroit-referencing tools. Just beneath, however, lurks the texture and warmth that is one of Copenhagen techno's prime calling cards. Perhaps the greatest treat of the EP is saved for last: Once And For No One is a gorgeous, gauzy, end-of-the-night banger that packs a hefty emotional punch.

All proceeds from physical and digital sales of the first EP on Perfumery will go to Sea-Watch.Org, a German NGO dedicated to saving migrants trying to reach Europe on stricken vessels in the Mediterranean.

Repress

Diamond Life are pleased to welcome new wave junglists L Major and Decibella to their roster of talent, from outta London.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

Jon Hester returns to Radio Slave’s Rekids label with the second instalment of his ‘Converge’ LP, ‘Converge - Part II’.

The second part of 2020’s ‘Converge - Part I’, a body of music which saw enthusiastic responses from the likes of Surgeon, Lauren Flax, DJ Bone, Anthony Parasole and Jus-Ed to name just a few, sees the Berlin-based DJ/Producer and dancer generously expand on and refine his slick vision of techno on one of electronic music’s key labels.

By encompassing warm and soulful textures within club focussed grooves, Hester continues to explore the far reaches of both the musical cues picked up from his years as a dancer and formative time spent in the Midwest US, connecting influences from Chicago, Minneapolis, and Detroit.
Stretched across a double LP, the album opens with the spacious and icy ‘Stealth’ followed by the machine communications of ‘Artificial Intelligence’. The B-side sees a whirlwind of the synthetic in ‘Instant’ before ‘Contact’ swiftly picks up the pace with it’s warbling pads and slippery percussion.

On the second disc, ‘Circadian Slip’, custom-built for dancefloor pandemonium, continues with off-kilter leads and vocal snippets before ‘Shadows’ brings eerie syncopation to the proceedings. In the final stretch, ‘Silver’ maintains steady energy into the twilight hours, and the gorgeous ‘Wonder’ closes out the LP beautifully, providing a soft landing to an exceptional journey through Hester’s sound.

‘Banane Bleue’ (French for blue banana), the brand new album from Frànçois & The Atlas Mountains, is a nomadic and truly European record, hailing from rented workspaces in some of the continent’s key cities - Berlin, Athens and Paris - and recorded with instruments that were often borrowed from likeminded musicians.
Written solely by Frànçois Marry himself, close collaborator and Weird World artist Jaakko Eino Kalevi was enlisted for production duties whilst Renaud Letang (Feist, Gonzales, Connan Mockasin) mixed the album.
The title of the album is taken from the ‘blue banana’ concept, a geographical theory that groups together a corridor of Europe’s biggest cities, originally conceived in the 1980s. The theory states that the blurring of these cities’ boundaries has resulted in the formation of one massive, interconnected megalopolis.
Expanding on the theory, Frànçois poetised it, picturing a luminescent blue banana shape that you can see from space with vibrant, ethereal currents that surround and bind us. It explores common cultural and romantic ground, creating an album full of missed meetings and misunderstandings.
CD into printed inner wallet and 8-page booklet.
Vinyl into printed inner sleeve with digital download card.

‘Working With God’ is the new studio album from Melvins, featuring the 1983 line-up of Buzz Osborne, Dale Crover and Mike Dillard. This is the first time the trio have recorded together since ‘Tres Cabrones’.
‘Working With God’ is Melvins’ 28th (yes, 28th) full-length studio release and their first since 2018’s ‘Pinkus Abortion Technician’.
The band have been one of the most lauded hard rock bands to have helped develop the Grunge and Sludge scenes.
The new album is one of their most melodic and playful records - not just another ‘metal’ record, this will translate easily to hard rock and even mainstream rock fans as well.
The songs on the album are originals except for their take on Harry Nilsson’s classic ‘Fuck You’ and the well-known ‘Good Night Sweetheart’ that finishes off the album.
Released alongside the reissue of two classic Melvins albums on coloured vinyl.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Original Soundtrack to FEELS GOOD MAN - (US Special Jury Prize for Emerging Filmmaker - Sundance 2020)

It has been twelve months since singer-songwriter Lucy Spraggan chose to go sober, and life has changed a lot. In fact, the present day Lucy Spraggan is, in a multitude of ways, unrecognisable from the person of yesteryear. Control - both relinquishing it and taking it back - plus rediscovering oneself, is a recurring theme of the past year and Spraggan’s forthcoming album Choices. Aptly named, the songs that comprise the collection offer insight and introspection that saw her let go of alcohol, embrace exercise and a healthier lifestyle, move onwards through a divorce and find solace in its wake. Needless to say, it may have been necessary, but it was by no means easy. In conclusion, “it’s really just been an enlightening thing.”

This is KORPSE, a quartet of death metal destruction from The Netherlands. Insufferable Violence marks KORPSE’s third full-length album, set for release via the indomitable Unique Leader Records on 26th February. By far the most brutal and dark album KORPSE has produced yet, the band deliver eleven tracks of jaw dropping Death Metal carnage. During Insufferable Violence’s forty-two minutes of chaotic punishment and depravity the band seem on a mission to turn their listener to dust beneath a ceaseless torrent of immensely heavy slam breakdowns, inhuman vocals, grinding speed and aggression. KORPSE once again bring their no-nonsense approach to the slamming death genre with no compromise or false overstatements in one of this year’s heaviest releases. The result is a deeply uncomfortable listen. Comments KORPSE: “We are very proud to present to you our third album called Insufferable Violence. The title is an obvious metaphor for what to expect from the new tracks; relentless brutal death metal in our signature style of the genre. Obviously, the songs are fast, brutal, aggressive, slow and groovy, but we didn't shy away from trying new things. We've incorporated a lot of death metal's neighbouring genres to spice up the mix, varying from beatdown to black metal, and from goregrind to tech death. We feel this is the absolute best album we are able to deliver at this point in our career and we sincerely hope you will become as excited about it as we are!” Founded by drummer Marten van Kruijssen in 2013 together with vocalist Sven van Dijk, guitarist Floor van Kuijk and bassist Robin van Rijswijk, KORPSE are widely regarded for their savage and uncompromising live shows. Previous albums the self-titled Korpse debut (2014) and Unethical (2016) grabbed the immediate attention of fans and press worldwide whilst allowing the band to tour throughout Europe and the USA playing many Summer festivals including Deathfeast, Neurotic Deathfest, Obscene Extreme, Stonehenge, Berlin Deathfest, Nice To Eat You Deathfest, UK Slamfest, Slamming Brutality, Fall in the Brawl, Chicago Domination Fest, New York Deathfest, Heidelberg Deathfest and touring with bands such as Scordatura, and Extermination Dismemberment. If by the end you’re not mauled to pieces, congratulations, you’ve just become one of the survivors of KORPSE’s aural battering ram.

TERMINAL BLISS makes their Relapse Records debut with the unrelenting album Brute Err/atta! A veritable who’s who of Virginia punk, the band features vocalist Chris and guitarist Mike Taylor (Pg. 99 and Pygmy Lush), drummer Ryan Parrish (Darkest Hour, Iron Reagan, City of Caterpillar) and bassist Adam Juresko (City of Caterpillar). Inspired by the likes of Born Against, Gauze and Void—not to mention Black Flag, Crass, Negative Approach, Disrupt, Necros, Crossed Out and Disclose—TERMINAL BLISS conducted their first band practice on January 14 th, 2020. Just six weeks and five practices later, they were recording their full-length debut with Majority Rule frontman Matt Michel in the engineer’s chair. The name TERMINAL BLISS was born out of the merciless consumerism and environmental destruction that are America’s enduring legacy. From dystopian, sci-fi themes in tracks such as “March of the Grieving Droid”, to the apathy of the checked-out masses on “Small One Time Fee” and the personal recount of loss and the inefficacy of our healthcare system in "Clean Bill of Wealth", it’s the merging of personal experience and social critique that has informed the punk edge behind the members of TERMINAL BLISS for decades now. For TERMINAL BLISS, it’s become a crucial combination born of decades of playing live. (Unfortunately, the band’s first show was cancelled when the US began its COVID-19 lockdown.) “I realized early on that if you don’t write something that resonates with yourself on a fundamental level, it’s going to get trite when you’re performing night after night,” Chris Taylor says. “So, with the idea in mind that we’ll eventually play shows, I always try to write something that will resonate.”

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko— Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs. Featuring heavily playlisted hits like “White Lines” and “Keep It Close,” Bones Owens came to life at The Smoakstack in Owens’ adopted hometown of Nashville. With production from studio owner Paul Moak—a five-time Grammy Award nominee who’s also worked with Joy Williams, Marc Broussard, and The Blind Boys of Alabama. “This album really came from opening for some good people over the last few years, from feeding off that energy from the crowd and wanting to write more songs that would feel exciting to play live,” says Owens, who’s recently toured with Reignwolf and Whiskey Myers. “It felt like the right approach to keep the production simple and record everything to tape - I think it creates a good type of nervousness that brings out the best in everyone. Nobody wants to be the one to mess up the take. Besides, all my favorite records were made that way. You can’t fake that sound.”

"New York City’s layers of continuous noise have become the backdrop to a rising four-piece that NME already calls “one of New York’s most exciting new bands.” Just like the city, The Muckers’ sound is equal parts vital and timeless, resolute and vibrant.

As The New York Times tells the story, lead guitarist and vocalist “Emir Mohseni, was inspired by the Strokes to pursue a career in music — a passion that brought him to New York all the way from his native Iran.” The move, profiled across acclaimed publications, from Rolling Stone to Billboard, only marked the beginning of the band’s story. Upon landing in this new environment, Mohseni met the three guys that would become his closest friends, and build with him the vitalizing sound and enrapturing live show that The Muckers are garnering early praises for: Anthony Azarmgin at the bass, Chris Cawley on rhythm guitar, and John Zimmerman behind the drums.

Directed by Just Jaeckin, the creator of Emmanuelle, starring Françoise Fabian, Madame Claude is inspired by the fictionalized memories of Fernande Grudet, the sulphurous instigator of the most famous luxury prostitution network in Pompidolian France. The totally disco-funk Original soundtrack of this film released on screens in 1977 from Serge Gainsbourg is sublimated by the immense arranger- Jean-Pierre Sabar". Without forgetting the generic song of Madame Claude “Yesterday, Yes a Day” interpreted by Jane Birkin. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

Raggatek and Ragga Jungle pityless sounds !

• Around the second anniversary of Chas Hodges’ passing, his son Nik began going through Chas’s multitracks and picking the pieces that he felt his dad would’ve considered finished and ready to be heard by all. Back in 2007, Chas had bought himself a digital hard-disk multi-track “portastudio” recorder, which allowed him to make fully-produced recordings rather than just rough demos, playing all the instruments himself.
• So here are fourteen previously unreleased wonderful gems – ten original songs and four covers. The originals include instant classics like “Street Games” and “Rock ‘n’ Roll Allotment”, as well as two songs written with the “Only Fools And Horses” West End musical in mind, “Trigger (Is What I’m Known As)”
and “What You Got You Gotta Show It”.
• The standard “I Can’t Give You Anything But Love” is given the unmistakable Chas Hodges treatment, and the album ends with his touching rendition of The Beatles/John Lennon classic “I’m So Tired”.
• The artwork includes personal notes by both Chas’s wife Joan and son Nik, as well as previously unseen photos.

Machine is the second studio album by the American industrial metal band Static-X, released in 2001. The album can be considered post-modern metal, as it features electronics and industrial effects, and not just a pinch of electronic gadgetry. Critics and fans responded positively to this album, which peaked at #11 on the Billboard 200 charts. The song “Black and White” provided the album’s first single and music video, followed by “This Is Not”. The third single “Cold” is used on the soundtrack of the film Queen of the Damned. Machine is available as a a limited edition of 1000 numbered copies on transparent red vinyl.

Ma Rainey’s Black Bottom is the official soundtrack to the 2020 Netflix original film of the same name about “Mother of the Blues” Ma Rainey. The album features score music by critically-acclaimed saxophonist, instrumentalist, composer, bandleader and educator Branford Marsalis, as well as newly-recorded covers of both popular Ma Rainey tracks and blues and jazz standards from the era. The multi-GRAMMY Award® winner brings over four decades of experience across stylistic boundaries to the project, imbuing the film with an authentic 1920s Chicago soundscape. The film was directed by George C. Wolfe and stars Viola Davis and Chadwick Boseman. It is lauded by critics and moviegoers alike, and it is expected that Ma Rainey’s Black Bottom will be a favorite at many 2021 award ceremonies. Ma Rainey’s Black Bottom is available to watch on Netflix now.

Kaleidoscope is the fourth album (and third solo piano album) by French- Georgian concert pianist Khatia Buniatishvili. The album features a unique combination of challenging pieces in which she shows her true virtuosic playing style. Some of the pieces taken on by Buniatishvili on this record are the beloved “Pictures at an Exhibition” by Moderst Mussorgsky on side A, as well as Ravel’s “La Valse” and Stravinsky’s “Petruschka”. Available on vinyl for the very first time. The two LP’s are housed in a heavyweight sleeve with gloss laminate finish. The package includes a 4-page insert. This edition is a feast for both the ears and the eyes.

In 2007 bassist Anneleen Boehme was one of the founders of LABtrio, which is considered as one of the most acclaimed Belgian jazz bands of the past decade. Just like her companions Lander Gyselinck and Bram De Looze, she quickly asserted herself in the most diverse contexts. Now Boehme is launching her "dream project": Grand Picture Palace. A jazz quintet and a string quartet that blend different worlds together. Boehme leads and plays bass and has been writing eight compositions that break through genre walls, music both powerful and elegant, showing how jazz and classical music can balance each other without cliches.

All recordings were made in the early summer of 2020 in the studio of mentor and fellow musician Nicolas Rombouts. The self-titled album 'Grand Picture Palace' will be released on February 19th 2021.

mex is a non-profit-organization for intermedia and experimental music projects, located in Dortmund, Germany. Since 1992 more than 650 musicians and media artists from around the world presented their subtle, noisy, improvised or conceptual works. mex’s traditional venue for those projects of concerts in combination with performance, video and intermedia, is the mexKeller at the Künstlerhaus with it’s special acoustic and atmosphere. Jens Brand began inviting artists and later Maija Julius went on until Achim Zepezauer took over in 2015. mex is a member of Medienwerk NRW. Kindly supported by: Department of cultural affairs of the City of Dortmund, Pro Jazz e.V. and Künstlerhaus Dortmund.

The artists featured on this sampler were guests within the curation of Achim Zepezauer and performed live for the mex audience between 2013 & 2019. Due to global pandemic conditions mex was unable to host any concerts in 2020 and therefore decided to release this special compilation in cooperation with the label Ana Ott.

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

• As of 1st October, Sony Music has acquired Third Man Records for the Jack White/Raconteurs/The Dead Weather and The White Stripes catalogue! This is an incredible deal which pulls together the entire catalogue on to one label globally for the first time. The debut release from this deal will be ‘The White Stripes Greatest Hits’
• This is the first-ever official anthology of recordings from Jack and Meg White's iconic indie rock duo.

Daumenbruch kurz vor dem 30. Geburtstag? Für Nils Frahm kein Hindernis, doch noch rechtzeitig neun intime Klavieraufnahmen einzuspielen und sie seinen Fans anlässlich seines Jubeltags online zur Verfügung zu stellen. Dabei gibt es für einen Pianisten wahrlich kaum eine schlechtere Nachricht als ein Daumenbruch. Frahm, der international längst ein Star der modernen Klassik ist und mit Zeitgenossen wie Olafur Arnalds, Peter Broderick und Efterklang kooperiert, ließ sich von dem Missgeschick (Sturz vom Hochbett) nicht beirren. Entgegen des Rats seines Arztes trainierte er die restlichen neun Finger und nahm peu á peu die vorliegenden neun kleinen Lieder auf. Als der Gips ab war, war das Album fertig. Die Musik ist mal wieder "ein Balsam" (BBC Music). Die LP erscheint inklusive eines Album-Download-Codes.

Detroit electro legend DJ Di'jital returns to TRUST with a second volume of raw and banging techno bass jackers. Injected with Juke, breakbeats, and a hefty dose of UR-style electric sweat music, 'ElectroHop II' is an essential weapon in the assault DJ's arsenal.

This is a Guitar hero story, playing 45 ! Full of Breakcore, hardcore and more !!! LTD Bull !

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

We were playing the track ‘Common Ground’ out and it was getting the dance floor hot! It was an instrumental at the time and Renato Paris was in the dance (a singer that EVM has been working with, plays keys with Moses Boyd and is one of Gilles Peterson's one to watch) he came up and asked, “What's This?” grabbed the mic, peak time and layed down this dope freestyle vocal, it was a jaw drop kinda moment for us all! That was it, we had to make it happen! So we linked up Renato and Duke and it became the lead track on the EP. An infectious song that literally drips in soul and future R&B, and just fits perfectly over the strings on this killer broken beat track! It’s one that will stick in your head and make you play it twice!

The whole EP is nothing short of quality. From the sultry jazzy Bruk vibes of '2017 Heat Wave' to the monstrous club track ‘ Nighthawks’ an up front stomper with live drums and a bassline that'll make you shiver inside that funky top line.

‘Got My 606 Back’ has been getting rinsed by the Summer dance Forever crew’s KC The Funkaholic and was well received by dancers worldwide when it was used for an SDF promo earlier in the year. We’ve since had many of them asking when this is coming out! This one is a real body mover, sweat towel advised!

Finishing up on ‘IFZ Shuffle’ a wicked little house shuffler that almost takes you back to the 90’s. It has this sweet piano breakdown that then introduces synths and congas until the groove kicks back in again. This track and the whole EP for that matter, works in a multitude of situations. It wont fail!

This reissue of the all-time best-selling jazz album ‘Kind of Blue’ by the legendary trumpeter Miles Davis includes 4 bonus tracks.
The all-star line-up features Julian “Cannonball” Adderley on alto sax, John Coltrane on tenor sax, Bill Evans and Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. The bonus tracks are ‘Blue in Green’ by the Bill Evans Trio and 3 tracks from a session recorded in 1956 with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.

Crazy human Farming EP... Kicker and breaker industrial acid techno... Defenitly all a question of point of view.
Superb sleeve from Darkam and mastering byu Stefan ZMK...

Badass !!!!

* Cold Press is another imprint from the label known as Jungle Cat Recs. It was started to showcase a ‘no frills’ attitude towards the music. Hence no artwork, just raw jungle music. The first release was a great success and sold out almost instantly. Cold Press returns to give you 4 raw Ragga-Jungle tracks on a whitelabel 12 inch limited edition vinyl.
*Dub-Liner is well known for high energy new skool jungle with influences accross the board, including Reggae and Hip Hop.

Gold Vinyl

It's the year 2021 and SASCHA MÜLLER is making a solo return with a 7" single on Intrauterin Recordings - an astounding 16 years after his first appearance on the label back in 2005. Coming in raw, dirty and powerful as it gets "Beat Junkie" weighs in a hypnotizing, grinding and surely Acid-fueled take on distorted, hard hitting peak time beat science whereas "Dope Beatz" caters a brutal, dancefloor devastating variation of heavyweight (Electro)Phonk x Chemical Beats for strobe-lit industrial dancefloors throughout the darkest, most vantablack hours of the night. 100% untamed underground music for those in the know.

Hailing from late-'60s Detroit, Black Merda (pronounced "Murder") were both aesthetically and musically way ahead of their time. When most black groups (including Parliament/ Funkadelic) were still sporting suits, singing about love and using a horn section, Black Merda had already become a tight guitar-heavy freak-funk four piece. By weaving guitar rock and psychedelia into soul and R&B they were the gods of the underground "black rock" movement which fell somewhere between Jimi Hendrix and Parliament and MC5. But it wasn't just about the music, the message was just as important.

-LTD. 180G RED VINYL-

Jonathan Bree's fourth album `After The Curtains Close' sees the producers trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's `sleazy' album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child like falsetto. Opening track `Happy Daze' is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lovers arms. First single `Waiting on The Moment' has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable 80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres ('Heavenly Visions', 'Kiss My Lips' feat Princess Chelsea, '69' feat Crystal Choi) and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes, also evident on 'Meadows in Bloom', a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer, in which Britta Phillips (Luna) takes lead vocal duties.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* We reach the penultimate Deep Seven No.9 that never made it to vinyl back in 1993. This is now available to own and settles the speculation over the missing 9th release that has accumulated for over 25 years. Ant Miles's last Hardcore production under the guise ‘Ironik’ comes in the form of ‘Feel the Feeling’. Uplifting original vocals feature over pumping basses and funk breaks capturing that ‘93 Hardcore vibe. The flip ‘Inspiration Station’ again features original vocals encompassing the Junglistic Hardcore flavours emerging from that era.

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

With hits such as ‘Africa’ and ‘Rosanna’, more than 40 million albums sold and over 40 years of a career, TOTO is without doubt one of the superlatives of music history.

In the early 90s they had a short period as a four-piece featuring Steve Lukather (guitar & lead vocals), David Paich (keyboards & vocals), Jeff Porcaro (drums & percussion) and Mike Porcaro (bass). The line-up, with some additional touring members, performed this concert at Montreux in July 1991 and went on to make the “Kingdom Of Desire” album released in 1992, shortly after the tragic early death of drummer Jeff Porcaro.

The Montreux show combines the then unreleased tracks from the “Kingdom Of Desire” album with classic hits and covers of songs by Jimi Hendrix and Sly Stone. Now this set will become available as a heavyweight double vinyl gatefold edition.

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.
Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”

The 1994 compilation featuring Charles’ Atlantic era hits such as “What'd I Say, Pt. 1 & 2”, “The Right Time”, and “I've Got a Woman”.



















s D4. Tell The Truth (with introduction) Live at Alonzo Herndon Stadium, Atlanta, Ga, 5/28/1959

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

A1. Muggy Detroit Heat (Mixed by Norm Talley, produced by Omar-S)

B1. Jus Hangin (Produced by Moodymann & Norm Talley, Mashed up by D'Julz)

Kompakt welcomes 2021 with a new member that many of you will recognise. For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few.

Orlando Voorn brings his extensive knowledge of Techno and House to the forefront for his Kompakt debut “Internal Destination”. We offer up the title track ahead of the 3 track EP’s February 19 release date. Spacial sounds connect perfectly together – the playfulness of the track feels like each moment is caught in mid-air but the beat keeps it all moving forward without hesitation. “Ride The Wave” rounds out this EP – an electro loop is serenaded by a funked up synth melody that jams to the drum in the most soulful of ways.

Kompakt begrüßt das neue Jahr mit einem neuen Familienmitglied, das dem ein oder anderen geläufig sein dürfte. Schon seit über 3 Jahrzehnten prägt Orlando Voorn die elektronische Tanzmusik wie wenige andere. Als erster holländischer Produzent werkelte er schon sehr früh an der Detroit - Amsterdam Achse (siehe "Game One" mit Juan Atkins oder die legendären Ghetto Brothers Releases mit Blake Baxter). Er hat unter unzähligen Pseudonymen wie Fix, Format oder Frequency Platten veröffentlicht, die heute Kultstatus haben.

Mit seinem Kompakt Debut "Internal Destination" zeigt er, dass seine Musik auch im Jahre 2021 tiefes Wissen verströmt und nichts an Relevanz eingebüßt hat. Der Titeltrack "Internal Destination" ist Groove pur. Räumliche Klänge verbinden sich perfekt miteinander - die Verspieltheit des Tracks fühlt sich an, als wäre jeder Moment in der Luft gefangen, aber der Beat hält alles ohne Zögern in Bewegung."Ride The Wave" rundet diese EP ab - ein Elektro-Loop wird von einer funkigen Synthie-Melodie begleitet, die auf gefühlvolle Art und Weise mit den Drums jammt.

Was hätte die unter tragischen Umständen viel zu früh verstorbene Sängerin noch für Platten machen können! Zusammenstellung von B-Seiten u.a. vom Album 'Kite', das mit Produzent Steve Lillywhite und Johnny Marr entstand, und diverse Hitsingles abwarf. U.a. mit der Smiths-Coverversion 'You Just Haven't Earned It Yet, Baby'. 'Other People's Hearts erschien in kleiner Auflage zum RSD und ist nun aufgrund der Nachfrage nochmals als 140 Gr. LP (Black Vinyl erhältlich).

Like Chuck Berry and Little Richard, it was success in the
pop field and crossing over to the white teenage audience.
That helped establish Bo Diddley in the rock & roll charts,
but his blues roots are clearly evident on this collection. For
however successful he got on the pop charts, Bo always
stuck close to his blues heritage. Among the songs you can
listen to here are I'm a Man, Road Runner and You Can't
Judge A Book By Its Cover. His blues roots are clearly
evident on this collection.

dirt is the latest EP from Hand Habits, the songwriting project of Meg Duffy. Comprised of two songs, “4th of july,” a simmering swell of chaos and beauty and “i believe in you,” a favorite of Duffy’s from the Neil Young cannon, the EP finds the songwriter exploring themes of growth and finding ways to let go of the parts of their past that no longer serve them.

After cutting their teeth in the upstate New York d.i.y. music scene and several years of session and touring guitar work for Kevin Morby, and a long list of other artists, Duffy released their debut album Wildly Idle (Humble Before the Void), a home-recorded, self-produced work that announced the project as a full-time affair.

For Another Michael, it all boils down to trust. In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signaled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, `New Music and Big Pop.' "It's hard for a group of people to get closer than living together," says bassist and producer Nick Sebastiano. "The stronger our connection grew, the more it shaped the music we found ourselves making." It should come as little surprise, then, that `New Music and Big Pop' is Another Michael's most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. As on the band's early EPs, singer and songwriter Michael Doherty's mesmerizing voice is front and center here, calling to mind Robin Pecknold or Ben Bridwell in its reedy, crystalline timbre, but it feels more at home than ever before amidst the album's lush, Technicolor landscape, which the band partnered with producer and fellow housemate Scoops Dardaris to create. The result is a masterfully understated record that belies its status as a full-length debut, a thoughtful, poetic, collection all about growth and change, hope and faith, endings and beginnings, delivered by a band that's only just begun to scratch the surface of their story.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

„Well recommended for the freaks“ the Manchester based independent music specialist Boomkat once finished a review about a release of Düsseldorf based DJ and producer Tolouse Low Trax aka Detlef Weinrich (also known as one fourth of the German avant-band Kreidler). What a freak distinguished we do not really know - we just assume he walks this world on a different path. Tolouse Low Trax surely does!

The latest evidence of this fact are four tracks of whom two are remixes by befriended artists, and two are coming right out of the middle of Tolouse Low Trax’s very own sense for odd and catchy grooves. His friend Miles, also known as one-half of the experimental industrial techno and dark ambient duo Demdike Stare, puts hand on the track “Sussing”, originally released on Tolouse Low Trax’s latest album “Jeidem Fall” in 2012. He covers it with an enigmatic, shadowy veil in terms of sounds, space, and obscure driving arpeggios in order to give the track a “brighter haze” feeling. A subliminal hypnotic transformation that swings with a unique dark and demanding drive. The second remix was done by Wolf Müller, a Düsseldorf based musician that released two highly acclaimed EPs on the German DIY label Themes for Great Cities. His profession as a percussionist calls the tune as he mutates the original track “Jeidem Fall” into a tribal celestial dance tune that jacks with an Afro-Baroque elegance.

Also the two EP contributions of Tolouse Low Trax himself move on very different terrains but seem to come out of the same experimental laboratory. With “Vindeland” he delivers a track full of dark synthlines and drunken shuffled patterns that morphs into a nervous soigné sensation. In contrast his arrangement “Eisenbahnzunge” starts with a celestial arpeggio until a strange alienated voice appears and everything melts layer by layer into an elliptical ambient experiment beyond the usual definition. Both tracks are deeply rooted in Tolouse Low Trax’s very own spontaneous minimal hardware approach of producing bold, hypnotic dance-not-dance music that shall not only illuminate the so called freaks!