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Es war die erste Tour von The Grateful Dead ausßerhalb der USA, welche die Band bei 22 Shows durch 6 europäische Länder führte. Die dazugehörigen Aufnahmen nehmen bis heute einen zentralen Platz innerhalb der umfangreichen Live-Diskografie der Band ein und wird
von den Fans - Dead Heads - auf der ganzen Welt
gefeiert.

Die Aufnahmen wurden zum goldenen Jubiläum noch
einmal remastered und erscheinen am 29. Juli als 2CD &
3LP.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
This quintessential collector's vinyl edition includes Etta James' sensational
debut LP, At Last!, first released by the Chess Records subsidiary label Argo in
1960.
The original ten tracks from the album are akin to a greatest hits collection, with
signature gems like "At Last", "All I Could Do Was Cry", "Anything to Say You're
Mine", "I Just Want to Make Love to You", and "Sunday Kind of Love", among
others. In addition to this original masterpiece, 4 bonus tracks from the same
period are also included.

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

Top roots outing from the mellow canary on this dreadlocks man 1979 classic, backed by the Roots Radics in full effect on the big showdown Scientist dub. Both tracks produced by Henry "Junjo" Lawes and recorded at Channel One studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Barrington Levy and "Junjo" images. European pressing.

Montréal singer/songwriter Laroie with an EP of low key radio hits produced by Gene Tellem with Gabriel Rei and Robert Robert.

‘Seductive sadness. Powerful vulnerability. Precise yet irresistible vocals. A few words to describe Laroie as she steps forward in full possession of her means, following up on her debut and namesake EP released in August 2020, and on the recent singles "Can't Let Go" and "One More". Here she is with Speed of Life, an extended play destined to be absorbed and listened to in one sitting. Funny how it sounds both familiar — you feel like you’ve known these songs your whole life — and brand new, all at once. In this nostalgic and emotional territory, standing at the borders of her influences, Laroie's talent shines through.

Skilfully navigating the electro-pop sonic palette, the artist crafts a comfortable, soothing canvas where dance, soul, and R&B from the late 90s and early 2000 also hop into the mix. From the bewitching slow garage "Elevate" to the cathartic and luminous "Can't Let Go", and through the trip-hop infused "One More", the very danceable "A Place on Earth", "Moonlight", reminiscent of the best of TLC, Brandy and Monica, and the title track’s addictive vocal melody, Speed of Life, just like a silky everyday soundtrack, is enjoyable on repeat.’

Lunatic Harness, µ-Ziq's rare and sought-after fourth album, was originally released in July 1997 on Virgin's Hut Recordings label. It is generally considered to be Mike Paradinas's best work of the nineties. An Apple Music review describes Lunatic Harness as "the prettiest album to come out of the mid-'90s "drill'n'bass movement", noting that Paradinas eschewed the abrasiveness of similar works by Squarepusher and Aphex Twin in favour of "atmospheres of ethereal color and shimmering melody", bringing the album "closer to pop music than anything Paradinas had previously attempted". Planet Mu has compiled a special 256th anniversary edition 4xLP boxset bringing together the My Little Beautiful EP, the Lunatic Harness album and May 1998's Brace Yourself EP (released by USA's Astralwerks label) with the addition of four rare tracks. Discs one and two of the vinyl are the original Lunatic Harness album, disc three compiles the My Little Beautiful b-sides with three unreleased cuts from the period and a remix of Mr.Angry from 1997's Mealtime compilation, while disc four is the 8-track Brace Yourself EP which hasn't been re-issued since 1998. This all comes in individual printed sleeves housed in a rigid box with an insert collage of some of the press Mike received at the time. There is also a 2xCD edition with the same tracklisting.

Am 29. Juli wird das Album „Greatest Hits“ von Offspring wiederveröffentlicht. Das Album enthält die Hit Singles aus fünf ihrer sieben Studio Alben und zudem die zuvor unveröffentlichten Songs „Can’t Repeat” und dem The Police Cover „Next To You”. „Greates Hits“ erschien ursprünglich 2005 und erreichte in der ersten Woche der Veröffentlichung Platz acht der Billboard 200.

Das Album wird nun zum ersten Mal für den allgemeinen Handel veröffentlicht und erscheint als 1LP.

A new EP by UK DJ / producer, Controlled Weirdness lands on Cultivated Electronics Ltd (CE's vinyl only sister label) in July. Heads will know Controlled Weirdness (real name Neil Keating) from his monthly radio show on Threads, his Presence Unknown label and Electric Sweat events. But he's actually been rocking the decks since the mid-'80s when as a youngster, Electro and early '80s pirate radio started his obsession with electronic music and he played his first gig at "The House of Dolls" in Farringdon where he soon became resident. After a stint in New York from 1989 he met Joel Bevacqua aka DJ Deadly Buda, who after returning to his hometown of Pittsburgh invited Neil to play at the first ever rave there in 1991, leading to a 6-month stint of events. Neil eventually returned to London in 1992 and started a radio show on pirate station Chillin FM alongside his sister, Stacey (later known as NoYeahNo). Many more events followed until in 1996 he formed Unearthly Records. Since then, he has played worldwide from plush clubs to dirty warehouses and has appeared on a variety of labels including Audio Illusion, Control Tower, Praxis, Zhark, Dirty Needles, Fdb and Still Raven. On 'In The Shadows' he delivers 4 earthy and raw Electro cuts with exciting electronics, tough beats and wonky acid.

Concept Of Man is Martin Knorz - Berlin based keyboarder, producer and DJ.

A studied jazz pianist, Knorz is known for playing keys in the highly acclaimed, german experimental pop band Hope, with whom he’s been touring around Europe and UK over the past couple of years, as well as forming the sound of Austrian pop icon Teresa Rotschopf‘s solo debut „Messiah“.

In 2019 he started devoting himself to modular sound-synthesis, playing live shows and remixing acts as Hellotrip (Mutant Rebuilds) and Hara Crash (Bali).

His debut “Regularities” will be released on Patrick Pulsinger’s Big Beak Recordings in 2022. It’s a modular infused tape majestically crafted by a sound surgeon. Drawing inspiration from Robag Wruhme, James Holden and Patrick Pulsinger (with whom he has collaborated on his album Impassive Skies and the EP Nocturnal Cat), „Regularities“ consists of four minimal tracks and a durational modularsynth-only-performance, both of which feed the realm of sound caviar. Tribal rhythms join the darkness of modular sounds, regular beats oscillate on irregular impulses, while intriguing basslines and uplifting chords remind us that Knorz is first and foremost a pianist, a master of melody.

Wooden but soft percussive chords create a tribal rhythm that carries through the song, interrupted by a contrapuntal rhythm. Another drum group provocatively steps in the arena, together they build a rolling total. Then a „squelching“, juicy, nearly acid melody grounds the track, to be drummed out by the two groups when approaching the end.

Limited to 100 units

Marc Romboy presents his upcoming album "Voyage de la planète' his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.


The first impression of this new sound can be heard on album opener forerunner 10" "Monde futuriste" (February 17th 2017) which blends together beautiful strings and soft flittering synths. "Jules Verne" named after the French science fiction writer, combines echoing arpeggios and a subtle woodwind harmony to create a cosmic soundscape. Whilst "Atome de danse", "Symphonie oblique" and "La machine du temps" use elegant strings to further enhance an unearthly effect, title track "Voyage de la planète" mixes the two mediums together with fluttering synths and somber strings before "La lune et l'étolie" builds introduces the bustling sound of the piano to create an upbeat melody.


Whilst there is a strong classical influence, there are tracks on the album that reference Marc's electronic background. This can be heard in

"L'univers étrange", which has an ambient sound, whilst pitched-down chords take "L'universe parallèle" to a dark and moody space.
"Phénix" is a bass-driven track, layered with crashing synths, taking the journey to a high before the celestial experience draws to a close on an uplifting note with "Nocturne" a laid-back soothing track that exudes optimism and wonderment.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, "Voyage de la planète' signifies the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.

Tape
Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, LYZZA, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse LYZZA adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

OPEN SESAM…
To unlock what seemed
an unreachable possibility
an taste it with your eyes
an touch it with the music
of your ears

to want something so much
that only magic can interfere
you and your inner wisdom

until the door of your
mental limitations open in front of you
so effortlessly no need for key
just to believe in.

Ethno Service, a moniker for two electronic musicians based in Prague, are here with their debut long-player 'NMA'. Released via LBD Sounds tape series, it comprises six masterfully crafted original compositions and a couple of remixes, including an uneasy jungle rework by Exhausted Modern's new alias Oblaka and a spaced-out ambient escapism remix by voodoo priestess Lucie aka Avsluta. It's not an easy listening affair, broken and sometimes unnerving rhythms blended with duo's uniquely moody atmosphere, ever morphing and taking you places you didn't even know existed. Expect percussion-heavy tracks on a lower side of bpm spectrum. You may dive into this album horizontally, or try to find out if it's still danceable. Is it? Sure it is!

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE MYSTERY ROAD SESSIONS!

"Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!"

Woodhead is a steady medium groover built around an acute chanky guitar part that Joel Ricci aka Lucky Brown composed while living in the "Woodhood" district of Bellingham Washington, USA in the fallout shadow of an industrial area on the outskirts of town. The Woodhood was so named because the streets were all named after different kinds of trees; Cottonwood, Alderwood, Birchwood, etc. Though members of the band had been performing Woodhead since as early as 2004, it had never been officially committed to tape. So during the 2013-2014 span of living room "Magik Carpet" sessions at drummer, Oliver Klomp's house in West Seattle, the combo dubbed by Lucky as "The New Lucky Seven" casually hit the head a couple times before calling it a night as Lucky rolled tape.

Opening with the now world-famous guitar player, Jabrille "Jimmy James" Williams dropping deftly into his rhythmic part, Lucky chants in the background the words "don't stop" as the tension builds up into the moment the whole band comes in. With Bob Heinemann on bass, Marc Hager on Rhodes and Oliver Klomp on drums, the thick but honest groove is instantly palpable. Trombone player Mars Lindgren and Sax player Thomas Deakin, along with Lucky on Trumpet lay down the 'head' to the tune right off the bat with everyone in the band giving that hard hit on the 4 count of the last bar of the repeated figure. This 'hit' returns again to form the breakpoint between soloists Jimmy James, Marc Hager, and on side B, Thomas Deakin, and Lucky Brown on the flute. The horn section microphone was situated on the dining room table and Lucky just had to lean over to reach it with his instrument! Michael Iris of Bell Creek Studio transferred and mixed these two tunes from Lucky Brown's cassette machine.

This tune was left off of the Mystery Road compilation album but comprises one of the last tracks created during those sessions therefore the concept, vibe, style, and intention should resonate and be interchangeable with the rest of the 45s from that epic Box Set TR-9043 released by Tramp Records on May 4, 2015.

As you spin and interact with the Mystery Road recordings, you are invited to allow Woodhead to take its rightful place specifically alongside the other "The New Lucky Seven" recordings and generally as a part of the suite of crude and naive living-room "Magik Carpet" funk of the rest of the Mystery Road.

As illuminated before in Lucky's artist statement regarding the Mystery Road sessions, the music contained therein was always intended to put emotion, vibe, feeling, and spirit before technical, spatial, or even performance constraints and to serve as a gift of discovery to lovers and aficionados of the deep funk idiom and the rare 45rpm format. Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!

Originally released as an obscure private-press LP by the Florida trio of Ben Champion, Ken Burkhart and Danny Burger.

Special guest on this super rare funky jazz outing is Mike Longo who says a few words on behalf of the group on the back cover, and sure enough he contributes scorching Rhodes in the style of his early 70s Greasy Groove sides for Groove Merchant and Mainstream. Also on board are Kelton Champion on guitar, Gary Champion on Bass, Mickey McGann on keys and David Winters on Congas and Percussion: (Just what we love to see on these kind of grooves. Added Phat Funkiness!)

The 20 minute title number weaves, bobs, and scorches with a sound that has been described as a "Headhunters Headspace" the groove never dropping for an instant with a Fender Rhodes meets Hammond B3 Prestige Style Scene with an added flavouring of some chunky Moog Synthesizer.

This has gotten a lot of chatter on the underground Jazz Vibes lately, copies changing hands for $300 and more. The track "These Are My Friends " regularly sells for upwards of $500 and is one of the most hard to find singles on the Rare Soul circuit.

The band are from South Florida, a well known melting pot of culture and music.This area has produced an impressive number of Super Star Jazz Musicians.

Among them Cannonball Adderly, Blue Mitchell, Jaco Pastorius, and Mike Longo and a multitude of others.

Jazzberry Patch can now be added to that roster with this fantastic re-issue from Jazz Room Records.

Berlin talent Joplyn is next up on Crosstown Rebels making her debut release on the label titled We Will Forgive Ourselves featuring remixes from prolific producer MK and label-head Damian Lazarus. Serving up two remixes in the form of MK’s Dub and Damian Lazarus’ Re-Shape, it acts as another milestone release for the near twenty-year-old imprint.

We Forgive Ourselves is the perfect musical metaphor for Joplyn’s inspiration. The track opens proceedings with elegant drum pads which are paired beautifully with quaint hi-hats. A gentle, healing vocal, followed by a deep heavy bassline creates a profound juxtaposition. Galactic-like sounds fizz in and out, fusing everything together to create a real sense of utopia that truly embodies Joplyn’s vision.

Brimming with a signature MK sound right from the offset, we’re treated to six-and-a-half minutes of perfectly executed contemporary deep house. Warming, subtle and inherently groove-led, soft kicks open into Joplyn’s haunting vocal offerings before rhythmic hats coalesce alongside, forming a modern dance anthem that is sure to light up many a club setting this summer.

Damian Lazarus’ Re-Shape comes next. Shimmering with an ethereal quality, the nine-minute piece undulates between moments of spiritual bliss to pummelling, acid-laden danceability. Whirring synths help create a galactic quality, as we travel between feelings of introspection, euphoria and everything in between.

'For the born Londoner the country ever remains an incredible mystery. He knows that it is there – somewhere – but he has no true vision of it. In spite of himself he Londonises it, suburbanises it; he sticks a gas lamp or two in the lanes, dots some largish villas of red brick beside them, and extends the District or the Metropolitan to within easy distance of the dark wood.' – Arthur Machen, Far Off Things

On July 22nd Mutant Joe unveils his debut release for Evar, 'Wrong Way Out', an EP that twists rap, electro and breaks out of shape with cool malice.

Since his arrival on the scene with a pair of 2019 releases for UK-based label Natural Sciences, the Brisbane-based producer's output has spanned underground trap,gabber, electro, jungle,breaks and various global club mutations, repackaged and delivered with a unique sense of impending threat and unhinged delight.

Mutant Joe repurposes mechanical SFX, stock horror movie samples, feedbacking hardware and crunching percussion to create a dark and theatrical soundworld. Building on his earlier work with underground trap artists like Freddie Dredd and TRiPPJONES, opener 'Bangin On' sees Joe revisit his love for dirty-south-indebted electro hybrids, combining fizzing bass and steely beats, plus rhymes courtesy of a close friend, Atlanta rapper Apoc Krysis. 'Static Effect' deploys similar Drexciyan influences, its overheating 808s colliding with aquatic machinery and disembodied vocal chops.

'Eyes Without a Face' presents a unique take on some classical rave combinations, with rolling, metallic jungle breaks, footwork-esque kicks and tightly layered, redlining hardware. The pace eases off on the ominous and aptly-named 'The Living Dead', a low slung, off-kilter breakbeat weapon. The EP closes with a pair of remixes: a twisted dungeon-rave tool by Ukrainian D&B specialist Limewax, and a tightly wound, detailed broken techno workout by EVAR regular Wheez-ie.

'Wrong Way Out' offers six wildly different approaches, united by Joe's mastery of gothic-horror sound design and unique ear for soundtracking end-of-night deviance. It's a cross-section of the sound Mutant Joe has so quickly made his own: unclassifiable, unrelenting and darkly euphoric.

The second 7" in the Konduko series reissues this mega-rarity, Noel Williams aka King Sporty's own version of Bob Marley's Concrete Jungle. The connection between Marley and Williams was long-standing, both living in the tenements of West Kingston and gaining their musical foundations as part of the Studio One, that would reach fruition when they later co-wrote Buffalo Soldier together.

Clement Dodd's organisation was more than a label, running a sound system, studio, pressing plant and its own distribution. As Deejay on the system and later releasing his debut single on the label, William's learnt his craft, taking this knowledge to Miami and replicating much - expanding the Konduko label to encompass studio, plant and distribution.

First recorded with Lee Perry, Marley's 1971 original was famously rerecorded for The Wailers move to Island Records and their 1973 album, Catch A Fire. Here, a rare Williams' vocal is backed with horns atop a reggae-funk groove. The songs message of struggle is universal and everlasting, even with a touch of Miami swing.

This is backed by Young Girl, a single in its own right, from the same period. A rocksteady, breakbeat shuffle bely the songs roots in late 60s soul, with a powerful counterpoint vocal from wife and partner, Betty Wright. A collector's item itself, together they are essential.

Zum 10-jährigen Bandbestehen schenken sich die Jungs des Turbo Rock Trios Balls Gone Wild selber ein Album mit 11 Songs voller Power, Melody und vor allem Hooks, Hooks, Hooks.

"Stay Wild“ heißt das neue Album des Turbo Rock Trios BALLS GONE WILD, das am 22.07.2022 das Licht der Welt erblicken wird. Zum 10-jährigen Bandbestehen schenken sich die Jungs selber ein Album mit 11 Songs voller Power, Melody und vor allem Hooks, Hooks, Hooks.Der Hörer merkt sofort, dass hier drei Jungs ans Werk gegangen sind, die wissen wie man sein Instrument hält. Spielfreude und gute Laune tropfen einem aus jeder Pore entgegen, wenn man die Songs auflegt und ordentlich aufdreht.
BALLS GONE WILD – Das ist der Punk und Hardrock Sound der 70er und 80er Jahre mit frischem Wind im Hier und Jetzt! Der Geruch von Bier liegt in der Luft und es klingt nach dem Resultat einer außerehelichen Liaison von Motörhead und AC/DC - Also… LAUT HÖREN!!!

Alien Transistor present Alien Parade Japan, a joyous double-album compilation of groups from Japan’s indie-pop and avant-garde undergrounds, all of which feature brass or woodwind instruments as part of their line-up. Compiled by Markus Acher (Alien Transistor, The Notwist, Hochzeitskapelle) with plenty of support and help from his Spirit Fest bandmate, Saya (also of Tenniscoats), it features some familiar names – Tenniscoats, naturally, but also Zayaendo, Tori Kudo’s Maher Shalal Hash Baz – alongside lesser-known groups like Biobiopatata, Mitamurakandadan?, Kourakuen, sekifu, and Noah Lewis Mahlon’ Taits, amongst many others.

The collection of songs here rests upon a simple question, and an interesting parallel: Why do so many groups from Japan include brass and woodwind, and how closely does this echo the scene that Acher is involved with in Munich? The idea was formulated in Acher’s mind after one of his groups, Hochzeitskapelle, had been invited by Saya to Japan in 2019, to take part in the Alien Parade Japan tour. “Saya and her friends recommended a lot of music to me that I didn’t know of,” Acher recalls, “and I was surprised and excited to find so many Japanese bands who use brass and woodwind instruments.”

This approach was something Acher had been familiar with for a while, thanks to his experiences in Munich: “Until then I thought of the Munich scene, where Hochzeitskapelle come from, as being quite unique in having ex-punk and still-indie musicians form loud acoustic bands with many brass instruments and play a wild mixture of styles.” And indeed, that variety is reflected in the twenty-two songs on Alien Parade Japan, which flits from the pastoral melody of Maher Shalal Hash Baz’s “Crossin The Tama River”, through the tenderness of various sighhorns’s “people have called them flowers”, to the folksy lament of Gratin Carnival’s “Just Watching”.

Alien Parade Japan reaches further afield, too, drawing in some groups, like HOSE, Fuigo, and popo, that feature musicians like Toshihiro Koike, Masafumi Ezaki and Taku Unami, who may be better known for their experimental and improvised releases on labels like ftarri and Erstwhile. It also looks back to material recorded in the 1990s - the swinging slide guitars and sax/tuba duet of Strada’s “Swamp”, from 1998, and Compostela’s energetic, rousing “ghhgh”, from 1990. Both pieces were written by, and feature, saxophonist Kanji Nakao; Compostela’s membership also included late saxophonist Masami Shinoda, who was also part of such storied Japanese groups as Pungo, A-Musik, Orquestra Del Viento, Ché-SHIZU, and the fiery free jazz outfit, Seikatsu Kōjyō Iinkai.

Groups like Compostela help to draw some through-lines to the aesthetics of chindon’ya, a type of Japanese marching band made up of costumed street performers who advertise businesses; the music made by these bands is brash, spirited, and full of energy. Alien Parade Japan weaves all of this together – chindon’ya; jazz; indie-pop; psych-folk; big band – into one beautiful, big tapestry of gorgeous melody, sweetness, and melancholy, with plenty of creative fraying at its edges. “The collection is a very personal view of Japanese bands using brass and woodwind instruments,” Acher concludes: “it’s not a representative anthology, it’s mainly held together by my personal taste, experiences, and friendships.” But it’s also a wonderfully coherent collection of some of the most playful and elated music you’re likely to hear this year. As musician and writer David Grubbs says:

„Now it is confirmed: my favorite genre of music is Alien Parade Japan. Hopefully now people will know what I’m talking about when I gush about the unassailable brilliance of longtime favorites like Maher Shalal Hash Baz, Popo, Mitamurakandadan?, Hose, and Tenniscoats, presented here alongside others whose music I have only begun to search out. Please share in my gratitude and enjoyment of this lovingly assembled collection, one that I welcome into my home as I would a long-anticipated guest.“

There is never any doubt that soul is in the house, when you hear the poetic guitar and organ licks from Cold Diamond & Mink starting to twirl together, and out of nowhere Carlton Jumel Smith steps effortlessly inside the groove. "Heaven In My Arms" is the second in line of Carlton's new trio of singles on Timmion, and what a treat it is: deep as Mississippi mud, light as a feather.

This time our trans-Atlantic tag team delivers a melodic beat ballad of the highest order, which should sweep fans of lowrider soul off their wheels. Spanish Harlem-bred Carlton has been steadily churning out gems since meeting the Timmion folks some years back and shows no signs of stopping yet. This is a love song with plenty of heart to give everybody. Just take it all in, and enjoy the instrumental on the flipside while you're at it.

Jason Mraz – American guitarist, singer and songwriter – has cultivated a large following with his laid-back, melodic pop that stylistically nods towards folk, jam band music, hip-hop and soft rock. Since the release of his 2002 debut studio album, Waiting for My Rocket to Come, Mraz has won multiple Grammy Awards and earned Platinum and Multi-Platinum certifications in over 20 countries, while touring North America, South America, Europe, Asia, Australia, the Middle East and parts of Africa. His WMG catalog has generated over 7B streams and over 12M album equivalents to date.

Jason’s second studio album, Mr. A-Z, originally released in 2005, was a Grammy®-nominated, U.S. Top Five (Billboard Top 200), RIAA gold-certified album that featured the hit single “Wordplay,” the artist’s second entry on the Billboard Hot 100 chart.

Mr. A-Z has never before been pressed on vinyl and this 22 July release will align with the record’s 17th anniversary (26 July). The double LP includes four previously unreleased instrumentals of songs from the standard album.















[m] D1. Life Is Wonderful (Instrumental) [4:20]
[n] D2. Geek in the Pink (Instrumental – Lillywhite Mix) [3:55]
[o] D3. Bella Luna (Instrumental) [5:02]
[p] D4. Song for a Friend (Instrumental) [8:08]

Very limited pressing of 300 units only. Following on from the two sold out records together, Freschard and Stanley Brinks come together for 12 brand new tracks. Lion Heart is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. On Midnight Tequila, Freschard brings it back to just drums and vocals // “an absolute joy.” Q // “...a set that’s as wistful and charming as it is playful and self-concious.” Uncut // “quietly charming” Pitchfork

A Ride is the new dark alt-country concept album on the road by Phill Reynolds, to be released on June 17th, 2022 by Bronson Recordings; Like all the best concept albums, A Ride takes you on a journey. This one concerns the last three days of an American runaway’s life. Part road-trip, part engrossing mystery, part search for redemption, it’s the fictional tale of a troubled man whose past comes back to haunt him. Via eleven intimate, chronologically-sequenced songs, we travel with him. There are epiphanies and dream sequences, drunken dive-bar nights and chats with Jesus and Lucifer. As the narrator battles with his dark side, it is ultimately we, the listeners, who must weigh-up and flesh-out his story. According to its creator Phill Reynolds, AKA Italian alt-country singer-songwriter Silva Martino Cantele, the key to The Ride’s mystery might lie within its fifth song, A Clockwork Dream. “That’s where we discover that, because of some kind of courtroom trial, the narrator has lost someone who was very important to him”, Reynolds explains. “But we never find out her name or her relationship to the main character. Is she a blood relative? Is she his wife or someone else?”. The origins of A Ride go back to 2015. On tour in the US, Reynolds took in the shifting landscapes, the people he met and their stories. All of this fed into the album he recorded at the all-analogue TUP Studio in Brescia, near Milan. Reynolds played almost all of the instruments himself and co-produced A Ride with long-term collaborator Bruno Barcella. If A Clockwork Dream features a full band arrangement – “I think of it as the kind of thing Neil Young & Crazy Horse might do on a Sunday morning”, says Reynolds – other songs are sparer, more intimate. Banjo, Fender Rhodes, harmonica and glistening slide guitar all feature as Reynolds delivers haunting confessionals such as Run, Run Away and The Fault Is Mine, songs likely to appeal to fans of artists such as Damien Jurado, Strand Of Oaks or For Emma, Forever Ago-era Bon Iver. Intricate, rapid-fire fingerpicking on the first single This Isn’t Me and The Call of The Dark demonstrates Reynolds’ dexterity, while his voice is a rich, fully-lived in instrument seasoned with the salt of experience,and strengthened by the 120 or so gigs a year he used to do before COVID took his one-man show off the road. Long an inhabitant of picturesque Italian towns in the Vicenza province, Phill Reynolds was born in Marostica and currently lives in Zugliano. He was only five when The Beach Boys’ Barbara Ann worked its magic upon him via the radio. Later a fan of ‘90s Californian punk bands, Reynolds was writing and performing in his own post-hardcore bands by 13, but didn’t make it to the nearest big city, Milan, until he was 19. Bands still matter deeply to him. But his love for folk music has deepened over the last decade or so, hence his solo act alter-ego. Where did the name Phill Reynolds come from? “Everybody asks me this,” he smiles. “Especially in the UK. The truth is I needed an alternative name for a gig I was doing, and at the time I was in love with the music of Phil Ochs and Malvina Reynolds. Malvina Ochs didn’t sound too good to me, so I became Phill Reynolds, and I like that, because it sounds like a normal person”. The esteemed Italian label Bronson Recordings will release his fourth solo album A Ride on June 17th, 2022, on CD, vinyl and digital. A Ride is the most ambitious and fully-realised Phill Reynolds album to date. He was assisted by Stefano Pilia (lead guitar on Dive Bar Oblivion), IOSONOUNCANE (backing vocals, synth, bass and field recordings on World On Fire), and C+C=Maxigross (bass, drums and backing vocals on In The Dark). The record’s story is a dark one, but not one without hope. “Every end is a new beginning”, says Reynolds. “One of the main themes here is that life can be a sort of trap unless you recognise your own demons and try to deal with him. So we must be prepared and try to live well”.

DJ Fucks Himself showcases his versatility on the "WEISSE WESTE EP": a nod to the producer's hi-vis getup when he gets up behind the decks.

The four-tracker kicks off with a Jungle-infused club tool: "Cafe del Mardcore", which combines a relaxing vocal with sweet synth harmonies for a zen-like rave atmosphere. "Ausgefallen" carries you further into the groove with its sublime sampling and eery vocals.

On the flip we have "Dream Team", where influences of Electro and Footwork can be heard combined with ethereal pads and sizzling percussion. B2's "Take It", which rounds out the release with a mystic 140 bpm roller, whose uplifting chords and infectious vocal make their way out of the club and into your heart.

Mit „ZYX Italo Disco Spacesynth Part 1” starten wir eine
Vinyl – Compilation-Serie mit den größten Spacesynth
Klassikern der 80er Jahre.

Alle Spacesynth- und Schallplatten Fans können sich auf die
legendären und unvergessenen Hits von Laserdance, Koto,
Hpynosis uva. freuen.

From Pacific City Discs, to you the listener, this summer, a DJ mix of fantasy and splash-energy is coming to you in a small edition of vinyl.  Fantasy writer/recording artist, Francesco Cavaliere, while visiting his seaside childhood vacation location, was extended an impromptu invitation, to DJ an 80s swimming club. He had this to say about his experience:

“I was at Shangri-La and a boy and girl from the bathhouse in silver swimsuits and sand-colored streaks waved me over with a drink and asked me if I would like to DJ the next day during my lesson on the beach at Tana del Pirata! I then and there I laughed but then I accepted (I had nothing at home just my mp3 player and a Nokia with music inside) The next day there was a little wind on the beach and the umbrellas swayed to the left. From the heat they could catch fire, white flames, instead the sea was rough and that wind with very long wrists cheered us up, blowing gaseous clouds in our faces. Perfect for the day ahead. After the first few pieces, I began to see that a group of kids jumped into the adjacent pool trying flips bombs and candle dives. Someone at the bar was playing Altered Beast .. so sipping a drink with ice I imagined DJ werewolf repeating catchy pieces while a kite half cobra half skyscraper inflated above us.”

This Impromptu Disc is fresh now, for you to frolic with this summer, while entertaining a daydream in the midst of entering a body of water while witnessing an apparition in the sky.

Selected and compiled by Francisco Cavaliere
Artwork by Spencer Clark

Two years after the release of their last album "Wolves Among The Ashes", Svart Crown comes back with a sixth and new opus. The EP, called "Les Terres Brûlées" will be released as a coproduction between the band's label Nova Lux Production and Les Acteurs de l'Ombre Productions.

Just like a return to the basics, the five tracks that compose this EP form up a sulfuric halo between rage and transcendance. Recorded in several Southern France places and once again mixed by Francis Caste at Saint-Marthe studio, the organic, made for live production gives a suffocating warmth to the album's five pieces. Like a kind of epitaph, "Les Terres Brûlées" is a true abstract of
the band's 18 years of experience.

The first track to be revealed, "Digitalis Purpurea" is an astral journey through the inconscience limbo. A chaotic vision of its own death warrant, between dream and reality, where fire, opiates and sulfur smell coexist.

In der Tradition klassischer Metal-Trios wie Venom, Motörhead und Raven, machen diese Jungs aus Chicago mehr Lärm als doppelt so große Bands und entfesseln einen Song nach dem anderen mit unerbittlicher Wut. Es ist Musik, die auch im goldenen Thrash-Zeitalter von 1986 entstanden sein könnte, als Bands wie Metallica, Megadeth, Slayer, Dark Angel und Sodom die entscheidenden Platten ablieferten. Und doch ist MISFIRE zukunftsorientiert, indem sie moderne Metal-Meisterschaft in ihr Gebräu für einen kraftvollen, zeitlosen Sound.

In the Beginning (Vol. 2) continues the treasure trove of the early works of Declaime & Madlib, the longtime collaborators who helped usher in a new sound and style from the city of Oxnard, Calif. This collection is brimming with previously unheard tracks from this beyond-creative duo that blends hip-hop with funk, jazz, soul, and psychedelia to lay the groundwork for so many other emcees and producers.

For Declaime (a/k/a Dudley Perkins), this series serves as a way to honor his friends and the city that raised them. He shouts out names like The Almighty Metaphor (aka MED), Oh No the Disrupt, DJ Romes, Kazi, and more, who he says “created a lane for the city of Oxnard to get the recognition it deserves.” Some of them make an appearance in one form or another on this collection, too—Romes, for example, mastered the project—that compiles 10 previously lost tracks that were recorded from 1993 to ‘96.

In The Beginning (Vol. 2) is entirely produced by Madlib, who provided all the cuts as well. His instrumentals are on that raw and dusty vibe as they move freely through genres and sounds, like on standout cuts “Bandwagon,”WLIX,” and “Signs (feat. Wildchild).” Those are all highlights for Declaime, too, and they demonstrate his ability to blend his observations of the world with bravado and third-eye insights. Even as young kids just getting their feet wet in the studio, these two were firmly on their path.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

Canada’s WAKE have never been a band interested in repeating themselves, this abundantly apparent from their discography, having evolved with every release. 2020’s Devouring Ruin made this more clear than ever, hammering the point home with the Confluence EP in the same year, and now they return with Thought Form Descent, their most dynamic, diverse and emotional release to date. “I’d describe the record as a place to reconsider what ‘extreme’ means. The words ‘brutal’, ‘crushing’, ‘devastating’ are overused adjectives for extreme music. We wanted to force people to confront the idea that ‘brutal’ or ‘extreme’ ideas aren’t just blastbeats or angular tritones, or, more importantly, ‘brutal’ elements alongside pointedly passive elements can create their own experience that can channel both and neither.” The result is eight nuanced tracks that run the gamut from relentlessly heavy to exquisitely beautiful, often simultaneously, and instantly grab hold of the listener, demanding their full attention. However, at the same time, they are lushly textured and densely layered, and offer more with every subsequent exposure, unfurling to show hidden depths, and taking WAKE to a whole new level.

Rusty- The Resurrection of Rust (Elvis Costello)
Elvis Costello kehrt mit einem besonderen Projekt mit seinem lebenslangen Freund Allan Mayes zurück.

Vor 50 Jahren schloss sich Elvis Allans Band ”Rusty” an, und anlässlich dieses Jubiläums werden sie eine
6-Track-EP herausbringen.

Costello beschreibt die Platte so: ”Lasst uns eine Platte machen, wie wir sie mit 18 gemacht hätten, wenn
uns jemand gelassen hätte”.

Die EP enthält neue Interpretationen von Songs aus ihrem Club-Repertoire von 1972, ihre Duette auf zwei Nick Lowe-Songs von 1972, ”Surrender To The Rhythm” und ”Don’t Lose Your Grip On Love”. Sie
schließt mit einem Arrangement von Neil Youngs ”Everybody Knows This Is Nowhere” und ”Dance, Dance, Dance”, mit dem Elvis sein Aufnahmedebüt auf der elektrischen Violine gibt.
Die EP ist in CD Format und nun auch auf Vinyl erhältlich.

Am 22. Juli veröffentlicht Paul Weller ”22 Dreams”, sein 9. Studioalbum, zum ersten Mal auf Vinyl!

Auf dem Album sind die Oasis-Stars Noel Gallagher und Gem Archer sowie Steve Cradock (Ocean Colour Scene) und Blur-Gitarrist Graham Coxon zu hören. Erstmals veröffentlicht im Jahr 2008 stieg das Album
direkt auf Platz 1 der britischen Albumcharts ein.

”22 Dreams” erscheint als 2LP Gatefold Sleeve und enthält ein 12ff x 36ff s/w-Poster mit gedruckten Lyrics, Tracklist und Credits auf der Rückseite, sowie ein 8-seitiges Booklet mit dem Titel ”The Missing Dream AKA Dream # 22” von Simon Armitage.