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Hier kommt eine LP Neuauflage des original in 2018 erschienenen Albums, dieses Mal in hellgrün transparent colour.

The Sampler EP from Thugwidow's forthcoming Seventh Circle Of Litness LP on Western Lore.

The Exit Planet Earth series continues with the first ever collaboration between two undisputed electro-funk heavyweights Egyptian Lover & Soul Clap. Egypt knows how to rock the TR 808 like no other and has been a true player on the LA electro scene since 1984. While Soul Clap have forged their unique E-Funk sound coming out of New York City as part of the Crew Love collective. The resulting track 'Hai Karate' is a slice of superbly produced classic electro designed to rattle bass bins from Miami to Mars.
Following form in classic electro directions, Futurenauts present their debut track 'We are the Futurenauts' that brings a slower based groove reminiscent of 'A Love from Outer Space' into the cosmos and delivers a powerful message to humanity. The flip sees a welcome return to 20/20 Vision from the Maltese magician Sound Synthesis who continues the vocoded vocals but adds a state-of-the-art assault on the senses with a slamming track aimed firmly at the discerning dancefloor. EPE 08 is finished off in fine style by Mick Wilson & August Artier with 'Akira's Cry', which fuses a deep house bassline and chords with tight break beat programming and powerful lead strings.

Limited 300 COPIES


PHONOREM: ITALIAN DJ, RECORD COLLECTOR AND BEAT-MAKER HE SPROUTS HIS ROOTS INTO GOLDEN-ERA HIP HOP. SINCE 2017 HE LEADS THE PHAT! RADIO SHOW, AT ROCKET RADIO VERONA, OCCASIONALLY WITH INTERNATIONAL HOSTS.

IN 2020 PHONOREM RELEASED A CASSETTE ALBUM “CRUISE CONTROL”, FUSING DOWNTEMPO BEATS, SYNTH AND SAMPLES MANIPULATIONS, INCLUDED ALSO A REMIX BY MAX GRAEF (TAX FREE RECORDS).

ALGORYTHM SHINES LIGHT ON HIS BACKGROUND IN ELECTRONIC MUSIC: SYNTH-WAVE SOUNDS ON WONKY HOMEMADE DOWNTEMPO BEATS, FUSED TOWARDS AMBIENT AND CINEMATIC ATMOSPHERES, WITH LIVE DRUM RECORDINGS, DRUM MACHINES AND FEW SAMPLES.

Music Produced by PHONOREM
Master by REEL MASTERING
Cover Artwork by AYCE BIO
Distributed by RUBADUB

All Rights Reserved to FUNCLAB RECORDS

Celebrating 10 years in the game this year and after a slight covid-induced pause, Dixon Avenue Basement Jams are back with fresh new summer heat straight from the depths of the colosseum on their Neutralizer sub-label. Longtime friend of the DABJ crew Delphi (who is also one half of Tiger & Woods alongside Marco Passarani) joins up with four shining examples of forward thinking machine driven funk, the type you can only expect to hear from the eternal city of Rome.

Strictly limited hand stamped edition on Carmine Red vinyl. Don't Sleep on this one, people.

Ed Black, better known by his stage name, edbl, is one of the most talented musicians to come out of South London's independent music scene. Despite his lofi soul / hip-hop sound being frequently compared to the likes of Tom Misch and Jordan Rakei, Black's distinct production style brings out the best of each featured artist. The result is a sound quite unlike any other, showcasing the best of South London's incredibly talented and diverse scene, all tied together by Black's incredible production.

Part 1 of a two part LP project from Casino Times !
The record Sounds Like: John Carpenter performing a live set at 4AM in a basement club.

Coming off the back of 2021, a year which saw the launch of their new imprint 'What's My Derivative?', Casino Times (Joseph Spencer and Nicholas Church) continue a journey of exploring the unusual spaces between House & Techno, carving out their unique space in the scene which over the last decade has seen them release on many leading record labels.

The duo return to Omena in 2022 after previously releasing two complimentary concept EPs (Decoded / Recoded). This time they take the step up to prepare only their 2nd full-length record 'A Change In Motion'.
An accomplished collection of tracks that are the epitome of their unconstrained style of electronic music, subverting expectations by blending an array of captivating ideas and atmospheres to form a true voyage through sound...

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

The Ebonettes were a female group Dave Hamilton cut on ‘Side By Side’ aka ‘Just A Mistake’ as issued by the Barrino Brothers on TCB in 1969. The song has a funky mid-tempo groove and is very in-demand. This is the first time on vinyl for this femme version which has been championed by DJ Snowboy over the years. The flip is the popular Northern Soul number ‘Lean Lanky Daddy’ sung by Little Ann about Dave and only previously available on a deleted Kent Select single.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

Finally the 4th volume of "The Encyclopedia of Civilizations" is here! This time it is not a split LP, but a collaboration. Modular synth maestro M. Geddes Gengras and left-field pop priestess Leyna Noel aka Psychic Reality join forces to compose together their new project inspired by Zoroaster: M.Goddess. An exquisite modern ambient record mixing leftfield, kosmische, new age, dub vibes... Very original and rich compositions with genius arrangements combining spacey synth sequences, dreamy guitars, modular sounds, weird rhythms... Along the lines of Craig Leon, Conrad Schnitzler, or the Mecánica Clásica's contemporary approach to the kosmische masters. "Zoroastrianism is an ancient religion that is still actively practiced today by a small population of people worldwide and has had a massive influence on western culture. Many things that appear to be integral to western thinking (and thus “wholesome”) indeed have their roots in ancient Iran. Dualities such as good and evil, light and dark, heaven and hell—even paradise is an old Persian word. For this project, we are exploring this Zoroaster moment—set in the bread basket of the Iranian plateau, six to seven millennia before the Common Era—that’s like a cross-fade. The fading of goddess worship and the first strains of the patriarchy. Not the -ism of today’s still-living religion, but the moment when this man Zoroaster came along and created a new religion that centred one god instead of the many. Forcing the divine feminine underground, if not fully occulted, obscured and engulfed into the mainstream enough to be forgotten. Goddesses that before had their own dedicated cults were converted into lesser players. We’re reviving those flames too."

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

Stolen Body Records is thrilled to announce the release of Mexican Doom Metal band Terror Cósmico’s first album in 4 years - Miasma.

Miasma is the fourth album from Mexico City based duo, Terror Cósmico. The record takes a different turn in production from past albums, having a more aggressive tone, having drums and guitar recorded separately in the studio, being able to create an intense and surrounding sound.

Miasma is made up of 8 tracks which deliver a great range of emotions, going through desperation, anguish and desolation mixed with an air of nostalgic mystery.

Recorded in January of 2021 in Testa Studio in Leon, Guanajuato, Mexico. The sessions held a vibe of doubt and fear to what the pandemic could bring. The album is charged with all the emotions of a very strange moment in our timeline. The artwork was a commissioned task by Portland artist Jason Barnett.
Tracks:

Hailing from Portugal, PHENOCRYST was formed in early 2020 by D.S. (Archaic Tomb, Summon) and P. Tosher (Extreme Unction, Scum Liquor, ex-A Tree of Sign), with N. (Summon, Sepulcros, Concilium) and V.M. (Systemik Violence, Necrobode) joining later on, during the recording of their debut EP. The band is based in the outskirts of Lisbon, and the origin of such conjuration is a rigorous consequence of a vibrant underground activity in the city. D.S. and P. Tosher wanted to create the foundation of a death metal act crossing other influences like doom and some psychedelic vibes, to illustrate soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events. There are not many artists actually singing about this specific topic, if any, and therefore, the lyrical content is also something to explore. As such, the moniker PHENOCRYST is fitting. Aptly titled Explosions, PHENOCRYST now reveal their debut recording. Totaling five tracks (one instrumental) over 23 minutes, Explosions unsettles with preternatural ease, reeking of death stench and obscure delirium. PHENOCRYST are proudly and purely death metal, but are emboldened in their liberation to explore within this rich language: Only Death is Realer. Indeed, Explosions is an explosive event, and one which marks PHENOCRYST's forthcoming debut album, which is currently being prepared. Take the first step into their burnt lands...

Since the initial release in 2003, Kurt Rosenwinkel’s Heartcore has been lauded by listeners and musicians alike for its forward-thinking vision and conception and seamless integration of electronic elements with acoustic jazz interplay

The album features Kurt Rosenwinkel on guitar, electric bass, voice, and synthesizer, Mark Turner on saxophone, Jeff Ballard on drums, Ethan Iverson on piano, and was produced by Q- Tip of A Tribe Called Quest. Much has changed since the early 2000’s- all of the musicians involved with Heartcore have since risen to the forefront of the global contemporary music scene, and the album itself has gained the status of a ‘cult classic’ in many circles. Now, Rosenwinkel and Heartcore Records are releasing an updated version of Heartcore, remixed, remastered and including a bonus track from the original sessions.

This new version of Heartcore promises to be even more spellbinding than the first iteration, and is now released as a top quality Double Vinyl LP in limited production.

Reggae Film Star is Damien Jurado's 18th full length studio album and
the second on his own record label Maraqopa Records
25 years since his debut album Waters Ave S. came out, Jurado is more prolific,
driven and creative than ever. The twelve mystical songs on Reggae Film Star are
gorgeously cinematic and feature a rich production and diverse sonic textures.
Reggae Film Star was produced by Damien Jurado at Sonikwire in Irvine, CA, with
invaluable help from the dream team of multi instrumentalist Josh Gordon and
recording engineer Alex Bush. The album was mastered by Greg Calbi at Sterling
Sound.

Wormrot return with their most stunning work to date! Following on from
2016's critically acclaimed album 'Voices', Wormrot's 4th studio album
'Hiss' is released 24th June 2022 on Earache Records
The Singaporean trio features the same line up as 2016's Voices with Arif
(Vocals) Rasyid (Guitar) and Vijesh (Drums) and is without doubt their most
ambitious and creative work to date. Having already made their mark as one of
Grindcore's biggest names, Wormrot are intent on bringing Grindcore back to the
masses with a sonically stunning record of wildly unhinged and downright feral
noise..

Under the name Delicate Steve, guitarist extrodinaire Steve Marion has
spent the better part of the last decade establishing himself as one of the
most wildly innovative and widely revered players in the game.He's
recorded with Paul Simon, been sampled by Kanye West, toured in the
Black Keys, and released four critically acclaimed albums of genrebending instrumental music
He's your favorite musician's favorite musician, a virtuoso songwriter, producer,
and performer who occupies a lane entirely his own in the modern indie
landscape, but he's never liked the sound of the electric guitar? "I've tried
everything under the sun to get away from it," he explains. "Until now."Written and
recorded on a white 1966 Fender Stratocaster that reignited his love for the
instrument, Delicate Steve's warm and captivating new album, After Hours, marks
a first for Marion, an earnest, easygoing collection that revels in the simple joys of
plugging in and playing. The songs are sweet and breezy here, pairing vintage
soul grooves with mesmerizing, wordless melodies, and Marion's production work
is subtle and restrained, stepping back in all the right places to let the album's
masterful performances speak for themselves. In another first, Marion teamed up
with outside musicians on the record, bringing in renowned bassist Shahzad
Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco
(David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch
his sonic boundaries.
The result is a dreamy, introspective album built for late night comedowns and
deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the
morning that draws on everything from Bill Withers and Sly Stone to Pharoah
Sanders and Salvador Dali as it explores memory and nostalgia, instinct and
intuition, serenity and transcendence.

He might be vocalist in bands such as Brighton-based progressive act Diagonal and psychedelic outfit Baron, but when it comes to his solo work Alex Crispin has typically worked in more wordless fields. Last year the songwriter, vocalist and producer released a triptych of ambient albums, consisting of two older albums in 'Idle Worship' and 'Open Submission', as well as new meditative work in 'Resubmergency'. On his new self-titled album, however, Crispin re-emerges from the cavernous soundscapes to – for the first time – put his vocal and song writing stamp on a record under his own name. “I personally find it easier to create more guarded, moody music, but I was at a point where I wanted to embrace a more universal, intimate and open side to what I might say” Crispin says. “Over time I’d got over certain blocks or preoccupations and so wanted to create something accessible and open hearted, which became a big driver for this record.” Pointedly self-titled to reflect the newfound confidence in his song writing away from the collective of a band, the album’s nine tracks are a warm embrace amidst troubled times. Musically there’s nods to everything from tropicalia and Brazilian MPB, to 80’s dusk pop balladeers The Blue Nile and Paul Simon’s explorations into African music. Lyrically aware of the snowballing turbulence that surrounds us, Crispin in reaction tries to see hope and looks around at the relationships and connections in his life that provide him strength. He opens 'Invisible (To Us)' with the words “Before the world did end, there was just one moment when, everybody thought there might be time, to look around again, to laugh to cry to sing.” Elsewhere, 'Listen & Learn' strikes at the heart of other underlying themes of the record, of the rarity of people opening up, taking on new ideas and allowing change. It’s accompanied with a rich, maximal sound palette of flute and sax that play around each other as Crispin’s vocal chips in with gentle encouragement. “One of the main markers on the album that I was aware of from the start, was to let myself express joy and positivity in the music” he says. “I have come to greatly prize the power of accessibility and universality over artistic 'coolness or trend', much in the same way that so often for me, the greatest pieces of art humans make nowadays are things like Pixar movies, with their combination of undeniable human talent and craft, alongside genuinely moving and accessible themes.” Indeed, there is a cinematic feel to much of Crispin’s own music, something brought over from his ambient creations – although his self-titled album possesses a panorama all of its own. Something like 'When I Reach The Ocean' has a hazy, pastoral feel to it like something out of the Canterbury Folk scene; there’s space between the notes though, which in turn pushes the track out to a greater expanse than the comparatively soft-edged and modest sound palette used to create it. Similarly, the likes of 'Effert' revel in the space afforded to them - in the case of the aforementioned in particular, Crispin lets his voice take a back seat and creates an open wash of sound that he allows the guitar to probe and explore within. “In making any music I am definitely conscious of trying to put in only what is effective” Crispin says. “It is so easy to clutter tracks without realising it, just having the ability to add stuff can just become addictive as it’s so easy to do with recording setups now.” The album started coming together at the end of 2020, with Crispin getting most of the songs to a concrete state, before starting recording in May 2021 with Diagonal bandmates Luke Foster (drums) and Daniel Pomlett (Bass), who put down rhythm tracks. Jazz saxophonist Rob Milne then added parts which would become the glue that held the whole organic aesthetic of the album together. There’s no doubt that lockdown played a part in proceedings, with a kind of forced focus resulting in a need for joyful expression. However, Crispin and his partner also suffered a bereavement which led to her travelling for large periods of time. “It was a very intense and difficult time and I think some of the intensity of emotion of that situation coupled with being alone must have inevitably contributed to the work itself” he says. It's perhaps why when even in moments of sheer happiness, such as the 'Sabu’s' breezily euphoric opener, Crispin ponders: “No-one really cares beyond this moment, and even when it's here, it's never here”. It’s the first of several bittersweet moments on the record that give the album its weight. On this new LP, Crispin recognises that sadness doesn’t mean throwing out hope, and that even in moments of joy there’s still a path ahead of you to take.

Debut solo album from the former frontwoman of The Total Bettys. Olive Green colored vinyl, comes with Download Card. Recommend If You Like: Tancred, Adult Mom, Snail Mail, Soccer Mommy Maggie Gently is a San Francisco-based indie songwriter with a fondness for wild schemes and intimate gestures. Her identity as a queer woman is important to her and the community she creates and participates in. Maggie Gently’s music is melody-driven and heartfelt — a big-city indie rock fascination with an unmistakable emo accent. Her songs are about how making decisions for your own mental health can feel like a matter of survival. Peppermint peers around the edges of trauma for a new glimpse at what growth could look like. With songs about eternal questions of commitment and love and the terrifying possibility of being vulnerable and known, this album is about trusting something enough to let yourself get swept away. The nine songs that make up Peppermint reinforce empowering truths that can be hard to internalize or say out loud. As an artist, Maggie finds inspiration in Meg Hayertz’ “Make It, Mean It” tarot-focused guided meditations, lesbian romance novels, and the Enneagram, almost as much as fellow bands like Snail Mail, Lala Lala, and Clairo. “’Steady’ is a sun-kissed ode to rebirth, driven by sweet acoustic melodies and Maggie’s soaring serene harmonies. As steady drums and shimmering synths join the mix for the chorus, the track gains a sense of resolute hope, as if emerging from the dark of winter into the light of spring.”

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to »Image Langage«: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises? —to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to »Image Langage« is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in »The Lake is Speaking,« a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. "I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars." At other times, listening to »Image Langage« is more like being in a theatre, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On »Pieces of Sylvia,« a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that "Image Langage" is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and langage and narratives, a kind of deliberate, dimensional world-building in sound.

»Image Langage« is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channelling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

»Image Langage« is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The French electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, MIDI instrumentation, and snippets of essayistic langage in both French and English. Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert’s Accidental Jr to more recently on Koze’s Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces.
The title track “Lean on Something” starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample
bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. “Wooer at the Well” then follows and picks up the tempo with those fly live acoustic drum lines that gives
Gerry’s tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track “Paramol”, where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, “Risotto” wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read’s as well as our own catalog’s charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.

The Who veröffentlichen am 8. Juli ihr Album „The Who Sell Out” erneut, was als ein loses Konzeptalbum mit Jingles und Werbespots begann und zu einem der außergewöhnlichsten Alben jeder Ära wurde.

Das ikonische Cover-Design schufen David King und Roger Law und porträtierten damit ein kühnes Abbild der Zeit. In Summe eine glorreiche Mischung aus klassischer, kraftvoller Who-Instrumentierung, melodischen Harmonien und satirischen lyrischen Bildern, die sich für das erst dritte Album der Gruppe herauskristallisiert haben. Das Album wurde 1967 veröffentlicht und enthält Klassiker wie „I Can See for Miles“ , „Armenia City in the Sky” und „Tattoo”. „The Who Sell Out” wurde vom langjährigen Who-Ingenieur Jon Astley mit den Originalbändern gemastert und ist in einer Originalhülle mit Obi und Echtheitszertifikat
verpackt

Diese schwarze Vinyl-Version wurde von Miles Showell in den Abbey Road Studios mit einer Half-SpeedMastering-Technik gemastert, die einen hochwertigen Vinylschnitt ergibt.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

Joe Rainey is a Pow Wow singer. On his debut album Niineta he demonstrates his command of the Pow Wow style, descending from Indigenous singing that's been heard across the waters of what is now called Minnesota for centuries. Depending on the song, his voice can celebrate or console, welcome or intimidate, wake you up or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We're still here. We were here before you were, and we never left. On Niineta, Rainey finds himself in between cultures, collaborating with producer Andrew Broder, who brought his turntablist sensibility to the project. The two of them met backstage at Justin Vernon's hometown Eaux Claires music festival before crossing paths more through the 37d03d collective, and both contributed to the last Bon Iver album before partnering up. "At first I didn't know what I could add," Broder says. "I came to understand everything is rooted in the drum-even the songs on our record that have no drum." Each song started with Broder's beats, the two of them experimenting with various sounds and tempos before orchestrating and recontextualizing the ancient sounds in strange, new in-between places, also pulling from Rainey's vast sample folder of pow wow recordings, layering in slices of his life. Niineta is a short version of the Ojibwe term meaning, "just me," and Rainey is using the term only in the sense that he's taking sole responsibility for the music. He is protective of Pow Wow culture-once outlawed by the US government and maintained in secret-while trying to figure out where he fits and how he can be creative with it. "These are my creations, but they're pow wow songs, and our language is sacred," he says. Rainey suggests conceptualizing the album as him working the door at a Pow Wow after party. "If I'm answering that door, I want to say, hey, yeah, come on in. But there's fucking tons of us in here. It ain't just me."

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

DRONE PLANETS...dropping beat science from the cosmos on citizens of the underground

Drivetrain (Detroit, USA) - Istanbul (featuring Joell Krista)
This colossal big room blast features punchy bass with flavored syncopation strutting atop a relentless rhythm track to produce the perfect sound track for a late night, tour guided excursion through the streets of the city of Constantine

G.E.N.I (Nottingham, UK) - Civil Unrest
The clandestine trio is sure to deliver kaos on the dance floor as they tickle the bottom of the frequency spectrum while playing mind games with twisted bleeps, tweaks and the sporadic heckling of an official warning announcement

DistantLover (Detroit, USA) - Sexual Chocolate
Loud and unforgiving, hinting of the essence of disco this infectious groove with its tasty vocal samples generate maximum energy and a debut endorsement for body stimulation

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Ende 2021 faszinierten POWERWOLF, die momentan erfolgreichste deutsche Metal Band, mit einem Streaming Event in nie dagewesenen Ausmaßen. Wer gedacht hat, alles im Live-Sektor schon gesehen zu
haben, wird hier lautstark und bildgewaltig eines Besseren belehrt. POWERWOLF lieferten Ende 2021 den neuen Maßstab für Musikstreaming Events. Am 08. Juli 2022 erscheint THE MONUMENTAL MASS – A CINEMATIC METAL EVENT endlich auch auf DVD, BluRay und vielen weiteren physischen Formaten.
POWERWOLF stehen seit Jahren für epische Metal Momente der Superlative, aber was sie auf diesem Streaming Event präsentieren übertrifft alles bisher Gesehene: In monatelanger Detailarbeit wurde eine Geschichte ausgearbeitet, die in mehreren Kapiteln anhand der Musik und aufwändig inszenierten Filmszenen erzählt wird.

Es werden von Kämpfen mit Geistlichen über Geschichten von Nonnen und Mönchen bis hin zu brennenden Engeln cineastische Bilder geliefert, die den Zuschauer sofort gefangen nehmen.Ein Live Spektakel, das auch nach wiederholten Durchläufen viele weitere Details entdecken lässt und POWERWOLFs Status als
die herausragende Band des Genres zementiert!

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Zeroes Collected features Nelly Furtado “I’m Like A Bird”, The Script “Breakeven”, The Black Eyed Peas “I Gotta Feeling”, Alphabeat “Fascination”, T.A.T.U. “All The Things She Said” and Mika “Grace Kelly” amongst others.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason