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For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

To celebrate the success of their first three albums, The Filthy Tongues
bring you Black Valentine, a compilation of their best work yet
Featuring 2 brand new songs alongside fan favourites
* The Filthy Tongues are alternative rock group from Edinburgh, known for their
dark and compelling theatrical rock n roll - The band are Martin Metcalfe, Derek
Kelly and Fin Wilson, all previous members of Goodbye Mr MacKenzie and
Angelfish.
* The band released two albums as Isa & the Filthy Tongues with frontwoman
Stacey Chavis before becoming the trio known as The Filthy Tongues. * They
released a trio of albums based on their hometown of Edinburgh, most recently
with the final chapter In These Dark Places. All three albums received rave
reviews, solidifying the band as a unique force in Scottish music.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

This 12” EP features the original 12” mix of the in-demand and much sampled early 80s jazz-funk classic, ‘Neptune’ plus two previously unreleased tracks; An extended version of the rare boogie cut, ‘Live It Up’, originally released as a B-side under the pseudonym D’aile’, and ‘Kevin’s Funk’, referencing Incognito trumpet player Kevin Robinson, who made up the Congress affiliated line-up for this stellar Gonzalez session.

Native Soul Recordings has been around a long old time in dance music terms and now it looks back over some of its finest works with this first in a new series of Best Of comps.

Music writer Harold Heath is first up with 'Slipstream,' an effortless smooth late-night house cut with introspective chords and silky pads bringing real depth.

The Candy Dealers get more lithe and elastic with the spraying bass and jumbled percussive house of 'Train Of Thought' and last of all, Asad Rizvi remixes Jevne's 'Moderize' with a funky little bassline and chord vamps that keep you on edge. A tasteful package of timeless house grooves.

The trend for spaced-out electronic house sounds knows no bounds at the moment. Nolga is the latest to start into a starship and head for the cosmos on this new EP for Aesthetic. 'Voltage' is a real fist pumper with great swing and glide and smeared pads with pipettes of acid.

'Delusion' then gets all bouncy and playful with bubbling synth phrases and energetic keys. There's a hint of darkness to the bass in 'Resurgence' while '435D' has a more metallic tech edge. All in all, a high-class EP of forward-thinking grooves.

Make Your Own Meaning continues to convey its unique techno message with a new statement of intent from label head Lurka. The artist has been busy of late and continues to be on a roll with another fascinating four tracker that genuinely serves up some original sounds and rhythms. 'Trip' gets things underway with organic percussive patterns stacked up over drilling bass to make for a prickly groove. 'Airlock' is similar but darker and heavier and 'Sick Flips' keeps the nimble feel going with dancing perc, rigid synths and scratchy sound effects all coalescing over broken drum patterns. Last of all is another dense, busy and multi-layered melange of tiny percussive sounds, synths and clipped rhythms that will make any floor move.

Social Limbo is the new album by OPEZ. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy.

In the Limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in “Male Nostrum”, the mysterious love in “Venice”, the social raids in “Social Roll”, the dust and the silence in “Limbo” are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra).

Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.

The new 12” series on Ballyhoo Records is dedicated to what label owner ‘Thee J Johanz’ describes as ‘Triptech Journeys’. The series takes the listener on a journey traversing old school house to mystical acid and everything in-between.

On volume 2, titled ‘Trancedenting Machines’, side a treats us to two tracks from Master Johanz. First, we have his track ‘Jack the Tripper, which utilizes the famous Dutch analog synth the “Synton Syrinx” and gives the track its swampy bubbling filter sounds and a massive intense hypnotizing drone sound in the background. This coupled with the steady grooving beat will take you to the moon and back. Next up is his track ‘Daylight Tripper’ which brings us a few steps into the daylight with its deep acidic sound that will keep you moving.

Flip it over to side b and we have upcoming talent ‘David Agrella’ from London who surpasses himself with his brilliant acidic track ‘Machinery.’ Finally, and definitely one to watch, is the incredible Swiss acid don, ‘DJ Emotion’ with an extract from one of his endless magical jams. Incredible stuff all round, you need this in your life and on your turntable!

140 Gram White Vinyl Limited Edition Of 1500 worldwide. Includes full album download + 2 bonus download tracks from the out of print 1999 Suz EQ /to whom it may consume 7-inch. Originally released in 2000 as Enon burst on the scene to wide acclaim +++ Pitchfork called Enon lyricist / guitarist John Schmersal “one of indie rock’s most consistently compelling songwriters.” Long, long ago, at the beginning of the new millennium, the world begot Enon. It was before Willliamsburg was, like, totally over, before beards made you cool, and just at the cusp of all this modern computer recording tomfoolery. What a time, before innocence lost. From all this came a much beloved and oft-overlooked record – one Touch and go is damn proud to re-issue on vinyl today – Believo! This record makes a bridge between the 20th and 21st centuries – full of effects, samples, pop sensibilities, and a complete respect for and disregard of The Rules. In 2000, Enon was all Brooklyn style, comprised of John Schmersal of Brainiac and Rick Lee and Steve Calhoon of Skeleton Key. John and Rick bonded over a penchant for suitcases full of electronics and battery powered trickery – portable musical distractions capable of making tracks on the fly. That’s what this era was all about for Enon – the suitcases, and being in the moment wherever they were. Though the band would later evolve to 2007’s lineup of Schmersal, Toko Yasuda and Matt Schulz, you’ve got to know where you’re coming from to see how you got to where you are today. So, come along with us, please, to the re-birth of Believo!

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing.

Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour.

Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals.

Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP.

Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

Repress!

Two huge Bobby Womack classics, the heart-on-a-sleeve 'How Could You Break My Heart' and the sweet soul love song, 'Give It Up' get a much deserved, official remastered reissue.

Produced and composed alongside Patrick Moten, who worked with the likes of Loleatta Holloway, Anita Baker and Rosie Gaines, 'How Could You Break My Heart' was a massive record on the modern soul scene and still a favourite across the board with the biggest selectors and DJs on the circuit.

The blend of warm woozy keys and magical piano touches, over energetic strings, powerful horns and tight percussion, are near impossible not to get swept up by and provide the perfect backing for Womack to bare all. Arguably one of the greatest soul singers to have ever done it, endless amounts of passion and raw emotion emanate from his rugged tones as he swallows the bitter pill of heartache and rejection.

On the B side the bittersweet 'Give It Up' where soaring strings and sumptuous chord progressions, marry with the full range of Womack's vocals and those expert backing harmonies. A luscious sax solo and funk bass give a sultry feel that mixes with the tenderness on show, providing a powerful metaphor for the swirling emotions that come part and parcel with this ever-relatable tale of reaching out for love.

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET

First Word Records are very proud to bring you a new album from Don Leisure with Amanda Whiting. 'Beyond The Midnight Sun' expands upon ground first explored on Don Leisure's track 'All Praises Due', which also featured Amanda (with Angel Bat Dawid), and featured on his previous album 'Shaboo Strikes Back'.

This is a full-length project that these two formidable Welsh artists have collaborated on together. To bring you up to speed, Cardiff DJ and beat-maker Don Leisure has been twice nominated for the Welsh Music Prize, with the afore-mentioned album 'Shaboo Strikes Back', and a previous project, 'Steel Zakusi'.

As well as being 50% of Darkhouse Family with Earl Jeffers, he's released music under various monikers on labels such as Metalheadz, International Anthem, Fat City, Earnest Endeavours, Group BraCil and on Rough Trade with another regular collaborator, Gruff Rhys. Other collabs have included Charlotte Church, Om'Mas Keith, DJ Spinna and First Word label-mate Tyler Daley ...

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space.

2023 Repress!

DJ Mo Reese excites crowds with his unique brand of House music. A Detroit native, his music is steeped in the tradition of his hometown and blended with his own soulful, funky style.

Influenced by such legends as Dennis Ferrer, Kevin Saunderson, Todd Terry, Derrick May, Roger Sanchez, and Terrence Parker, DJ Mo Reese has entertained around the world for over 25 years. Most recently, he performed at Tresor, in Berlin, Germany and Kitsch in Eindhoven, Netherlands. A crowd of over 100,000 was blown away as he performed his special four turntable set at the Detroit Movement Festival. He banged the box at the Cornerstone Event near Chicago before a crowd of 600+. DJ Mo Reese shined at the Winter Music Conference in Miami, and has been featured on stations WGPR, WJLB and won the Mixidome contest on WHYT. As a performer/producer, DJ Mo Reese inspires audiences with his uplifting and soulful style of House music.

Several Years Ago, the Disco Records Dj Crew Members Got Their Hands on a Couple of Original 70s Obscurities, While These Standout Records Shone Brightly in Their Own Right, the Team Finally Decided to Put Them Out as Those Obscure Old Records Fetch Eye-Wateringly High Prices on the Second-Hand Market. Due to Popular Request & Lovingly Mastered to the Highest Possible Standards, They Are Now Available to Play and Share in Very Special Moments at Parties Around the World. This Will Surely Be One of the Most Keenly Anticipated Disco Release of the Year. for Our First Release, We Are Extremely Proud to Bring You at Last, Three Very Hard to Find Disco Anthems on Sides a & B in Their Glorious Full Extended Versions...

Paul C returns to Hot Creations as he serves up his first solo material for the label with his bumping three-track ‘Let The Bass Kik’ EP.

A mainstay within the Italian house landscape for over two decades, DJ/producer and label owner Paul C has delivered quality house records via a wealth of top-tier imprints while featuring at key clubs across Europe and beyond. Having made his debut on the label back in 2013 with his bustling collaboration ‘Get This!’, with 2015’s follow-up ‘Pinball’ also proving to be a favourite for many, he now returns to Hot Creations as he delivers three impressive tracks across his ‘Let The Bass Kik’ EP.

Opening the package is title track ‘Let The Bass Kik’, a vibrant, energy-charged effort loaded with slinking basslines, hooky samples and sweeping synths to provide a peak time cut made for bustling dancefloors. Next, ‘Can U Dance’ keeps things moving as sweeping electronics and soaring leads are guided by slick metallic drums, before ‘Red Green Yellow’ closes the show as sharp percussion arrangements meet echoed vocals and rich melodies.

Incl. Radioactive Man Remix

Veterans of the vibrant London underground scene Anna Wall and Thoma Bulwer joined forces to deliver EYA Records’ latest output ‘Liquid Wiggle EP’. These are deep and hypnotic machine-driven tracks for big room and warehouse parties! One of the highlights of the EP here is the nostalgic and moody electro remix by UK living legend Keith Tenniswood aka Radioactive Man.

Mit „Rockstar“ veröffentlicht Dolly Parton, die am meisten geehrte und verehrte Country-Sängerin aller Zeiten, ihr erstes Rock Album. Sie wurde bereits für ihre musikalische Arbeit in die „Rock n‘ Roll Hall of
Fame” aufgenommen. Mit Alben in mehr als vier verschiedenen Genres, darunter Country, Folk, Bluegrass und jetzt Rock, überzeugt die international erfolgreiche Künstlerin bereits seit mehr als 5 Jahrzehnten.

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

To celebrate the 40th anniversary of his recorded music career, Cherry Red is both proud and delighted to release a brand new ‘Very Best Of’ compilation to mark this momentous occasion.

For his 40th anniversary, Howard wanted to create a truly unique collection. ‘Celebrate It Together The Very Best Of Howard Jones 1983-2023’ is the first anthology that looks at his entire catalogue, from the original version of “New Song,” all the way to a 2023 Elephant Talk remix of it that recasts it within a modern electronica context. It includes songs from his classic Warner-era catalogue, as well as work from his independent Dtox label. For ‘Celebrate It Together’, Howard has personally chosen to group the songs into four categories: “Popular Hits,” “Electro,” “Chill,” and “Curiosities.”

He wanted to elevate this selection of songs beyond the typical chronological approach and create themes that mix and match different pieces from different eras, with the overall listening experience top of mind. Released on three different formats, this deluxe 2CD digipack contains 35 remastered tracks. Featuring a comprehensive collection of hit singles, remixes, key album tracks, alternative and live versions. Packaged in a deluxe digipack featuring brand new photos of Howard. Includes a previously unreleased track and a further 3 tracks previously unreleased on CD.

12 page fully illustrated booklet containing brand new photos plus a brand new sleevenote where Howard in conversation with Anil Prasad reflects upon the 40 years of his recorded music career.

While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

Martha and Jessica Kilpatrick (aka Waterbaby) had a creative upbringing in South London – spending their days singing in Southwark Cathedral Choir or experimenting with recording ideas onto cassette tapes, such as trying to make their out-of-tune family piano and a flute sound like an electric guitar. Eventually settling together in an attic flat in Peckham, the sisters became quiet, mystical forces in the underground London scene, emerging in and out of the sanctuary of their studio to perform their hypnotic live show with artists as varied as Kedr Livansky, James K, TAAHLIAH, and Dorian Electra. The sisters’ insular and feminine sonic world showcases inventive song structures backed by dizzying layers of production – all crafted on their stash of lost & found analogue gear in their South East London studio, squashed between Hyperdub’s headquarters and a mechanic’s garage. In a world where the analogue and the digital seem to be in constant headlock, Waterbaby effortlessly solve the equation – operating in a space where Cocteau Twins-esque anachronism meets the sharper edge of contemporary experimental electronica. Press: “The 10-track album is a window into the duo’s alternate reality, where folklore and mysticism blend together to create a kaleidoscopic dreamworld of experimental electronica." – Dazed “The sisters often go to magical places with their celestial compositions … Across the album’s 10 tracks, there’s a great deal of artistic ambition within the arrangements.” - Loud & Quiet "Like a distorted transmission from somewhere out of time, Waterbaby serve as our conduits, lightning rods for pop music and art of a more mystical variety." - Fact Mag "Their long-awaited debut 22° Halo' locates their sound somewhere between the nebulous chamber pop of Cocteau Twins, the meticulous synths of Air, and the speculative electronics of Arca or Oneohtrix Point Never

For Fans Of The Nymphs, The Gits, Jeff Buckley, Babes In Toyland, Brandi Carlile, Grace Potter, The Hangmen, PJ Harvey. Originally introduced to music fans as the leader/frontwoman of the Nymphs, Inger Lorre’s following remain loyal. Since the Nymphs 1991 debut on Geffen Records, her releases have been cherished by a loyal fanbase. Josie Cotton has signed Lorre to her Kitten Robot label for her first solo studio album since Transcendental Medication. Gloryland is a collection of 10 new songs, taking Inger into uncharted musical territory but still imbued with the elements of loss, despair and redemption that echo her past recordings. With Gloryland Inger celebrates her unique voice with total freedom, crossing genres from singer-songwriter to Americana and gospel. Working with Nashville multi-instrumentalist Buddy Woodward, she creates gorgeous oceans of sound with esoteric string instruments, alongside Angelique Congleton (the Hangmen) on bass, Eric Contreras on drums, Matt Lee on electric guitar, Jordan Shapiro (Eddie Spaghetti) on pedal steel guitar and Paul Roessler (Screamers, 45 Grave, Nina Hagen, Twisted Roots) on keyboards. Gloryland is produced by Roessler (Lords of Altamont, TSOL, Richie Ramone), Woodward and Lorre. “Inger retains her strength as a songwriter and performer without losing any of her sensitivity, fragility and danger. I always look forward to what she does, it never disappoints” - Henry Rollins // “Inger Lorre is a magician, a shaman…that kind of witch-doctor ability for performing”

Recommend If You Like: Allen Ginsberg, Hal Willner, Bill Frisell, Marc Ribot, Jack Kerouac, William Burroughs, The Beat Poets, Lenny Bruce, Jazz. Allen Ginsberg, the voice of a generation, fierce, gentle, profound and profane, paired with music created especially for his work, by some of the guiding lights of Jazz in the modern era - Mark Bingham, Bill Frisell, Arto Lindsay, Marc Ribot, and others. All masterfully coordinated and produced by the mad scientist of collaborations, Hal Willner. First released in 1989, this time capsule surges forth into the now with 8 additional tracks never included on the original release. These are timeless works, a garden of eden on vinyl to wander through repeatedly, guided by the founding father of Beat Poetry. Graced by an irresistible coda co-written with Shimmy-Disc founder Kramer, his lyrical mantra of "Don't Grow Old

Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.'Tales from the Trenches' is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, 'Tales from the Trenches' delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.

Gloam is the highly anticipated sophomore album from alternative folk band MAYBEL. Similar characteristics from their debut, Gathering, are carried forward: elegant harmonies, soft instrumentals and a shared optimism coupled with a wide open vulnerability. The songs still echo the intimacy, warmth and closeness of their relationships, yet the band has matured. MAYBEL's evolution shines through with ambitious compositions, thoughtful songwriting, and a deeper understanding of themselves as the album’s themes pierce with growing pains, anxieties and hopes for change. It’s a record about movement and stopping; the ongoing act of coming apart and coming together. Gloam is for listening in your bedroom or in transit, missing friends, on your way to see them. It holds an optimism that rings clear yet nestles and dwells in a brooding, muddy darkness - placing it firmly in the illustrious Canadian folk canon. This is the first album for which all four members (Fez Gielen, Ali Hendra, Loris Kecaj and Lauren Spear) wrote songs. For the most part, they were written during the pandemic separately and then shared in the upstairs living room where Lauren, Ali and Loris used to live together. The result is a shared diary on love, grief and moving on. The band's ability to effortlessly blend traditional folk elements with modern production techniques is reminiscent of the collaborations between Emmylou Harris and Daniel Lanois. Just as Harris and Lanois brought a fresh perspective to country music, MAYBEL embraces experimentation in their sound without compromising the warmth and intimacy inherent to folk music. As with their debut Gathering, MAYBEL recorded Gloam with producer/engineer Jonas Bonnetta at Port William Sound in Mountain Grove, Ontario. Resonating with a sound borne of the studio’s deeply intimate rural environs it is no wonder the band chose to return. Here they were joined by Eliza Niemi on bass/cello, Caylie Runciman on bass/drums with Jonas adding synths and percussion. Gloam is an old Scottish word for twilight. It appears like a fantasy between the day and night, a time seemingly frozen, drifting, or ignored all together. Gloam is the mood and time within which the album takes place. MAYBEL describes it as being: “In transition, between sleeping and waking—a quiet underworld where one is alone with their thoughts, in true presence with the in-between.” The final track on the album, “For Nothing”, captures something of the album’s twilight hope. It begins with lilting solos and gracefully builds in energy and color. MAYBEL sings to its listeners, “All that work for nothing” with a buoyancy and radiance that chimes against the lyrics. They repeat: “All that work for nothing”. For all of the band, the last few years have resulted in significant change and stress. Yet they continue to try, through their music, to will themselves towards optimism. They ask for you to marvel with them at the charming and terrifying possibility of life. They harmonize again, not despairingly, but almost ecstatically “All that work for nothing!”

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

180g virgin vinyl limited edition of 750 copies only - the complete album + 3 bonus tracks Once billed as "Europe's First Lady of Jazz," Dutch singer Rita Reys (1924-2013) was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. The LP 'The Cool Voice of Rita Reys'(considered her best record ever) presents her backed on one side by a band led by her husband, drummer Wessel Ilcken, and on the other side by Art Blakey's Jazz Messengers in two manifestations of the band featuring Donald Byrd, Hank Mobley, Horace Silver, Kenny Drew, Wilbur Ware, and others.

The garage punkrock lieutenants of Sweden are back with a bang!
Formed in 1999, this high energy garage punk outfit is known for their
intense live shows, which have taken them all over Europe and even USA -
Now they're back with their sixth album, 12 brand new tracks, 100% made
for volume levels cranked to the max
It's hard hitting, raw, trashy, primitive yet with a twist of finesse that makes you
wanna hear it over and over again. This album is sure to keep your feet moving
and bring garage rock to the masses. For fans of garage rock of yesterday and
today, Buzzcocks, The Hives, The Nomads,The Marked Men, The Kidnappers, The
Devil Dogs

The garage punkrock lieutenants of Sweden are back with a bang!
Formed in 1999, this high energy garage punk outfit is known for their
intense live shows, which have taken them all over Europe and even USA -
Now they're back with their sixth album, 12 brand new tracks, 100% made
for volume levels cranked to the max
It's hard hitting, raw, trashy, primitive yet with a twist of finesse that makes you
wanna hear it over and over again. This album is sure to keep your feet moving
and bring garage rock to the masses. For fans of garage rock of yesterday and
today, Buzzcocks, The Hives, The Nomads,The Marked Men, The Kidnappers, The
Devil Dogs

Detroit based Graphic Artist/ Fashion Designer/ Producer/ and DJ Johnny Malek has quickly fallen into the hearts and minds of the house music community.

Coming off a powerful 2022 with his debut Beatport EP “Hope” hitting number 1 on Beatport followed up with a string of releases including a 4 track organic house EP titled “Tales of Tulum” and two full length albums “How to Pray” and “Memories”.

Keeping his foot on the gas and continuing to dial in his sound in preparation for his Yoruba Records debut Johnny delivers with “I Promise” - A Deep House Anthem with banging afro house drums and an extremely powerful gospel vocal encapsulating the classic sounds of House Music.

Johnny has no plans of slowing down anytime soon as he continues to dive deep into his original sound and style and pushing the boundaries of the next generation of House Music artists and producers.

Director's Cut is Kate's 9th studio album and was released on 16 May 2011 on Kate's own label Fish People.

On Directors Cut Kate revisits a selection of tracks from her albums The Sensual World and The Red Shoes.

Kate has re-recorded some elements whilst keeping the best musical performances of each song - making it something of a director's cut but in sound, not vision.

Director's Cut is Kate's 9th studio album and was released on 16 May 2011 on Kate's own label Fish People.

On Directors Cut Kate revisits a selection of tracks from her albums The Sensual World and The Red Shoes.

Kate has re-recorded some elements whilst keeping the best musical performances of each song - making it something of a director's cut but in sound, not vision.

Legendary international DJ, Keb Darge, fell under the spell of this music when his Japanese girlfriend forced him to go down to a ‘Rockabilly’ night back in 1989. As soon as the DJ dropped the needle on Johnny Burnette’s ‘Rockabilly Boogie’ Keb was mesmerized. He was soon hunting down the hideously rare top tunes and slipping thousands of pounds into specialist collectors like Boz Boorer’s back pocket, when the legendary guitarist was not recording or touring with Morrissey. Of course, Keb was then taking these records and introducing them to new audiences in his DJ sets worldwide.

Although it has taken an age to persuade him, Keb has now applied his perfectionist compiling skills to pick 14 killers to grace this fantastic collection. Ranging from the bopping Glen Glenn’s ‘Blue Jeans and A Boy’s Shirt’ to the almost hillbilly Jimmy Johnson’s ‘All Dressed Up’. This is a must-have compilation not only for those who have been oiling their quiffs for decades, but also those wondering what this “rockabilly” is all about. Keb drops you in at the deep end with no easy-going fillers, and you’ll be glad he did.

Keb has written the sleeve notes and with cover art by the legendary Robin Banks – this album looks as good as it sounds.

“Murderock - Uccide a passi di danza” (internationally released as “Murder Rock”) is a thriller/horror 1984 film directed by legendary

Lucio Fulci about a dance school in which a mysterious murderer kills female students with a long pin.

Its soundtrack was entrusted by the producers to Keith Emerson, In those early 1980s,

having temporarily shelved the prog-rock experience of Emerson, Lake & Palmer,

Keith Emerson launched a solo career that led him to compose a number of soundtracks

“Murderock”: an energetic mix of 80s pop/rock anthems, perfectly in line with the sounds of the time,dressed up with typically extravagant Keith Emerson arrangements.

“Murderock” has become a cult title among genre film fans over the years, and is here reissued on the occasion of

Black Friday 2023 in a new clear blue vinyl version with gatefold sleeve and audio remastered by Claudio Fuiano.

The last four tracks - Murderock (Part 1-4) - are released on vinyl for the first time ever. Artwork by Eric Adrian Lee.

Dear gourmets of audio-aesthetic rapture, dear sound poets, please welcome - Pop Ambient 2024. Twenty-four. Twenty-four can be divided by two, four, six, eight, twelve and itself. If something can be divided by itself, it is not really divisible. Truthfulness knows no formulas. Beauty knows no formulas. Beauty saves the world for no reason whatsoever. “Beauty is a promise that beyond mediocrity there is something where calmness reigns. Beauty calms the nerves. Beauty is not a good intention but a fact. Beauty is provocation, rigor, responsibility. And beauty has its price”.

In addition to the official version of Pop Ambient 2024, there will be an art/music edition limited to 10 pieces, consisting of an exclusive mini bonus album (vinyl dubplate) from Blank Gloss, in combination with 10 individual fine art print artworks by Veronika Unland. The edition will be available via kompakt.fm/art exclusively on November 24th, 2023.

Ladies and Gentlemen please welcome, Pop Ambient 2024
Liebe Gourmets audio-ästhetischer Verzückung, liebe Klang-Poeten, please welcome - Pop Ambient 2024. Vierundzwanzig. Vierundzwanzig lässt sich durch zwei, vier, sechs, acht, zwölf und sich selbst teilen. Wenn sich etwas durch sich selbst teilen lässt, ist es nicht wirklich teilbar. Wahrhaftigkeit kennt keine Formeln. Schönheit kennt keine Formeln. Schönheit rettet die Welt ohne jeden Grund. „Schönheit ist ein Versprechen, dass es jenseits der Mittelmäßigkeit etwas gibt, wo Ruhe herrscht. Schönheit besänftigt die Nerven. Schönheit ist keine gute Absicht, aber eine Tatsache. Schönheit ist Provokation, Strenge, Verantwortung. Und Schönheit hat ihren Preis“.

Neben der offiziellen Ausgabe von Pop Ambient 2024, wird es eine auf 10 Stück limitierte Kunst/Musik Edition geben, bestehend aus einem exklusiven Bonus Mini-Album (Vinyl Dubplate) von Blank Gloss, in Kombination mit 10 individuellen Fine-Art-Print Artworks von Veronika Unland. Die Edition wird am 24.11.2023 exklusiv über kompakt.fm/art erhältlich sein.

Ladies and Gentlemen please welcome, Pop Ambient 2024

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

2023 Repress

Only released in October 2006, Anders Trentemøller's stunning debut-album - The Last Resort' already evolved into one of the most successful independent albums of the year. Raving reviews all over the place, various elections as - album of the year' and solid playlists at the radios express the huge interest in the fantastic album. While 2006 has been topped of with a tour through Australia, the first Trentemøller highlight in 2007 will be the release of - Moan', the second single from the album. For the a-side Trentemøller himself created a brilliant remix of the - Moan'-Vocal Version, which has been released on the Bonus-CD of the limited edition album only. Trentemøller managed to keep the mystic melancholic vibe of the track featuring the vocals of danish talent Ane Trolle, but adds punshy drums, screaming synths and some more guitars to guarantee serious dancefloor-action. Radioslave aka Matt Edwards aka Rekid aka Quite Village, on of the most in demand remix artists at the moment (Moby, Booka Shade, Justice, Peace Division, Pet Shop Boys, Joakim etc) contributed a great remix on the flipside. Slowly building over reduced drumpatterns their mix culminates into a manic wall of sound. While Poker Flat 81 features the vocal versions of both Trentemøller's and Radioslve's remixes, the instrumental and dub versions will be released simultaneously

Mit der Kombination der klassischen Jazz-Crooner-Eleganz von Frank Sinatra und Nat 'King' Cole mit der erdigen Raffinesse der Soul-Legenden Stevie Wonder und Donny Hathaway setzt 'Merry Christmas from José James' die Messlatte für ein modernes Weihnachtsalbum höher. Auf 10 Songs, darunter zwei Eigenkompositionen, haucht James beliebten Weihnachtsklassikern wie 'The Christmas Song', 'White Christmas' und 'Let It Snow' neues Leben ein. Darüber hinaus erkundet der '50 Shades Darker'-Sänger auch seine Jazz-Seite mit einer fröhlichen Interpretation von John Coltranes 'My Favorite Things'. Begleitet von Grammy-Preisträgern/Nominierten wie Ben Williams (bass), Aaron Parks (piano), Marcus Strickland (sax) und dem aufstrebenden Jharis Yokely (drums) ist das Album ein Festtagserlebnis der Weltklasse mit einer der grössten lebenden Stimmen des Jazz auf schwarzem 180g Vinyl.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

Justus Jonas ist einmalig - oder etwa nicht? Unerwarteter Besuch und ein Diebstahl führen die drei ??? auf die Yacht des Verrats. Justus, Peter und Bob trauen ihren Augen kaum, als ihnen Ian Carew wieder gegenübersteht. Ein alter Fall verbindet die Detektive mit dem Sohn des ehemaligen Premierministers von Nanda. Kein Wunder, dass Ian erneut ihre Hilfe sucht. Er ist im Auftrag seines Landes in Rocky Beach, doch jemand verfolgt ihn und in sein Hotelzimmer wurde eingebrochen. Können die drei ??? ihrem Freund helfen?Trackpunkte1. Tokoloshe 09:032. Die Vodoo-Frau 08:353. Ein gefährlicher Plan 07:544. Mission Peter 06:275. An Bord 10:456. Leinen los! 07:257. Mann über Bord! 10:228. Enttarnt 12:13Gesamtspielzeit: 01:12Sprecher:innen Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichIan Carew Sascha DraegerMambo Mawu Regina LemnitzKommissarin Martinez Caroline KiesewetterLarry Stephan SchadMorton Michael PrelleThabani Mathoho Tim GrobeClayton Badu Frank Roder Cumba Balewa Heidi BerndtProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Justus Jonas ist einmalig - oder etwa nicht? Unerwarteter Besuch und ein Diebstahl führen die drei ??? auf die Yacht des Verrats. Justus, Peter und Bob trauen ihren Augen kaum, als ihnen Ian Carew wieder gegenübersteht. Ein alter Fall verbindet die Detektive mit dem Sohn des ehemaligen Premierministers von Nanda. Kein Wunder, dass Ian erneut ihre Hilfe sucht. Er ist im Auftrag seines Landes in Rocky Beach, doch jemand verfolgt ihn und in sein Hotelzimmer wurde eingebrochen. Können die drei ??? ihrem Freund helfen?Trackpunkte1. Tokoloshe 09:032. Die Vodoo-Frau 08:353. Ein gefährlicher Plan 07:544. Mission Peter 06:275. An Bord 10:456. Leinen los! 07:257. Mann über Bord! 10:228. Enttarnt 12:13Gesamtspielzeit: 01:12Sprecher:innen Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichIan Carew Sascha DraegerMambo Mawu Regina LemnitzKommissarin Martinez Caroline KiesewetterLarry Stephan SchadMorton Michael PrelleThabani Mathoho Tim GrobeClayton Badu Frank Roder Cumba Balewa Heidi BerndtProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Der legendäre Hip-Hop-Pionier DJ Muggs und der häufige David-Lynch-Kollaborateur Dean Hurley haben gemeinsam den Original-Soundtrack zum 2023 beim Sundance-Filmfestival uraufgeführten Spielfilm "Divinity" geschrieben und produziert, der am 24. November über Sacred Bones auf CD und LP erscheinen wird. "Divinity" ist eine dystopische Science-Fiction-Odyssee, die von Steven Soderbergh produziert und vom visionären Regisseur Eddie Alcazar inszeniert wurde. Das Zusammenspiel von DJ Muggs und Dean Hurley ergibt einen Soundtrack, der "Divinity" über den Bildschirm hinaus zu einem multidimensionalen Erlebnis macht und den Hörer zu einer unvergesslichen Klang-Odyssee auf unbekanntem Terrain einlädt. Inmitten der außergewöhnlichen Ästhetik und Thematik des Films ist die Filmmusik eine zehn Tonnen schwere Hantel aus Klanggewichten. Mit 8-Bit-Samplern, Wavestation-Synthesizern, erweiterten Chor- und Streichertechniken schafft es der Soundtrack, wild zwischen den Arenen von Musik und Sounddesign zu pendeln. Ein Klangerlebnis, das die gleiche Intensität wie der Film einfängt und wiedergibt. Tracks wie "The Brothers" und "Reflective Dreams" überschlagen sich mit Vangelis-esken Tönen und malen mit breiten Strichen cineastische Erhabenheit und ätherische Wunder. "Main Titles" und "Infinity Techno" hingegen schwingen sich zu unerbittlichen, strafenden Klängen auf, mit brutaler, pulsierender Energie, die für das verdrehte, unerbittliche Streben nach Unsterblichkeit steht. Ein herausragendes Stück des Albums ist zweifellos "Divinity 2 Infinity: The Odyssey" featuring Kult-Hip-Hop-Legende Kool Keith. Der Song wurde speziell für den Film geschrieben und ist eine gelungene Reminiszenz an die End-Credit-Songs der 90er Jahre, die damals auf die Themen des jeweiligen Films zugeschnitten wurden.

Seit über dreieinhalb Jahrzehnten hat ihre unterm Strich verrückte Methode des Thrash einige der charakteristischsten Momente in der Welt des Metal hervorgebracht. Jetzt, in der zweiten Hälfte ihrer Karriere, zeigt sich die ganze Erfahrung mit SCORCHED, da es irgendwie reifer, raffinierter klingt und mit Andeutungen von mehr als nur Thrash Metal verschönert wird. „Es ist keine Aggression um der Aggression willen“, erklärt Sänger Bobby „Blitz“ Ellsworth, „es gibt viele verschiedene Elemente auf der Platte. Für mich ist es mehr Heavy Metal und weniger eine reine Thrash-Platte. Da ist verdammt viel Melodie drauf.“

OVERKILL erweitern ihren Aktionsradius, aber lasst euch nicht täuschen, die Band wird die dreckigen, massiven Gossen-Thrasher bleiben, die wir alle kennen und lieben. "Wir sind, was wir sind, und wir wissen, was wir sind, schon seit einer verdammt langen Zeit. An diesem Punkt unserer Karriere in der Lage zu sein, identifizierbar zu bleiben und trotzdem etwas zu machen, das anders ist, ist verdammt aufregend für die Band", schließt Blitz.

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Vecchio's Afro-Rock is one big horn-heavy, bass-blasting, Latin groove funk-rock party. Only now, you're all invited because this, ladies and gentleman, is officially...a grail no more. With copies currently starting at 400 Euros for an original, this beautifully presented reissue, part of Be With's fresh campaign with Music De Wolfe, is well overdue. A magnificent and somewhat obscure library set that's just a total, cohesive joy from start to finish, this here is the soundtrack to all your smokin' summer BBQs and communal cookouts.

Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio. Recorded for the sound library label De Wolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. It features fiery brass charts, funky bass lines, fluttering flute, choppy organ and additional hand tribal percussion. The band let loose too and jam hard; yet there's a certain thread of solidity that runs throughout, the tracks just belong together, not disparate sound and rhythm experiments like some library records; this is just straight up, no messin', consistent funk-rock FIRE! Hips will sway, heads will nod to the steady vibes. It's insanely good.

The humid, building funk of the appropriately titled "Megaton" is a dramatic explosion of swirling, dazzling organ lines, ferocious beats and heavy horns throughout. It just don't stop. The tempo slows slightly for the deep and deeply addictive "Renegade". It's all heavy jazz horn refrains, always triumphant, coupled with devastating percussive breakdowns and killer guitar riffing. It's an insistent organ-led juggernaut. The frenetic "Facade", up next, is no less driving, horns high up in the mix over rattling percussion and brilliant organs lines. Just sensational. The bright "Chabati" is another glorious extension of the optimistic Vecchio sound, the organs wilder than ever before. The moody "Green Hell" is a real highlight and closes out the A-Side with some outrageously funky refrains - be it horns, organ or guitars - and is complimented by gorgeous flute work that galvanises the piece, elevating it to downright heavenly status.

Knowing full well that he's on to a surefire thing, Vecchio opens the flipside in much the same vein. Indeed, "Boss" is yet another uptempo highlight, a sensual orgy of proud horns, hand percussion and melodic flute playing over driving organ and guitars. It's followed by "Nsambei", which is rightly adored for its briefly open drum break, fantastically propulsive percussion breakdowns throughout and the jazzy, loose organ and guitar shreds. The bright "Waboco" ups the tempo and the pressure, hanging on one hell of a guitar hook and infectious horn refrain. Perhaps foreseeing how this album would come to be viewed, the aptly-titled "Cult" is possibly the finest song on the record. Which is saying something, because this record is insanely good. Riding a steady, confident organ groove straight out the gate, the kinda melancholic flute line over the top serves as a beautiful counterpoint which the horns often come in and imitate/riff off. Goddamn this is so so good, it needs to be played everywhere. The overwhelmingly mighty 7-minute jam "Ngoma-ku" rounds out this quite staggering record brilliantly in its heavy, mid-tempo blues with countless extended solos.

The audio for Afro Rock has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Nach 'Another Night' (2011), 'You Are Here' (2014), 'Motivator' (2016) und 'Hard To Stop' (2020) legen High Spirits aus Chicago in Form von 'Safe On The Other Side' endlich ihr lang ersehntes fünftes Studioalbum vor.
Es könnte wohl keine passendere Platte geben, um das 20-jährige Jubiläum von High Roller Records zu feiern. 'Safe On The Other Side' trägt die Katalognummer HRR1000. Ein Umstand, der Chris "The Professor" Black, Multi-Instrumentalist, Sänger und Gründer von High Spirits, mit großem Stolz erfüllt.
Die Band spielt Hardrock mit Einflüssen aus diversen Rock- und Metal-Genres der 1970er- und 1980er-Jahre. Hervorheben muss man die gekonnt eingebetteten Thin-Lizzy-Double-Lead-Attacken, sowie die Kompaktheit und Eingängigkeit der Songs. Die Songs auf 'Another Night' wurden z.B. mit melodischen Bands der NWOBHM wie Tygers Of Pan Tang, Praying Mantis oder den frühen Iron Maiden verglichen.

Nach 'Another Night' (2011), 'You Are Here' (2014), 'Motivator' (2016) und 'Hard To Stop' (2020) legen High Spirits aus Chicago in Form von 'Safe On The Other Side' endlich ihr lang ersehntes fünftes Studioalbum vor.
Es könnte wohl keine passendere Platte geben, um das 20-jährige Jubiläum von High Roller Records zu feiern. 'Safe On The Other Side' trägt die Katalognummer HRR1000. Ein Umstand, der Chris "The Professor" Black, Multi-Instrumentalist, Sänger und Gründer von High Spirits, mit großem Stolz erfüllt.
Die Band spielt Hardrock mit Einflüssen aus diversen Rock- und Metal-Genres der 1970er- und 1980er-Jahre. Hervorheben muss man die gekonnt eingebetteten Thin-Lizzy-Double-Lead-Attacken, sowie die Kompaktheit und Eingängigkeit der Songs. Die Songs auf 'Another Night' wurden z.B. mit melodischen Bands der NWOBHM wie Tygers Of Pan Tang, Praying Mantis oder den frühen Iron Maiden verglichen.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers. Lauded by the likes of Kenny Dope and Gilles Peterson, Mäkynen"s studio creation has been visible on the 7" format during the recent years. Now, Mäkynen is back with a full LP, the project"s first in more than 10 years. Duktus is a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers. Lauded by the likes of Kenny Dope and Gilles Peterson, Mäkynen"s studio creation has been visible on the 7" format during the recent years. Now, Mäkynen is back with a full LP, the project"s first in more than 10 years. Duktus is a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise.

LTD MARBLED YELLOW-OXBLOOD LP

16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe emporsteigen, auf den Konzerten trifft sich Jung und Alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener ,Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung ,Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder im eigenen Kopf. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits! Im Klappcover mit bedruckter Innenhülle, hier auf klassisch schwarzem Vinyl!

LTD MARBLED YELLOW-OXBLOOD LP

16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe emporsteigen, auf den Konzerten trifft sich Jung und Alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener ,Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung ,Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder im eigenen Kopf. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits! Im Klappcover mit bedruckter Innenhülle, hier auf klassisch schwarzem Vinyl!

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Loud and explosive or quiet and solemn, post-punk or pre-noise: Vorwärts Rückwärts (ForwardBackwards) are your allies when you have the feeling that everything around you is falling apart. ForwardBackward gives you energy or comfort, depending on your needs.

We get upset. Very. We scream our frustration at the top of our lungs. Loud. But ultimately it doesn't matter at all. Like in the Bild newspaper - fucking blaming alarm every day, and then it doesn't matter at all. Tomorrow we will have already forgotten what we are upset about today and the day after tomorrow we will be upset about things that we have no idea about today. Doesn't matter! The main thing is that it is loud - has a good beat - a driving bass - sharp guitars and the words have a good sound. Until everyone's ears ring and the practice room smells like an old gymnasium. Now finally pressed on vinyl. Actually at least our fourth debut album. Quickly pressed the stop button and finished and finished a small, fine pralined selection. The sound of now. The Sound of everything and nothing. Viva la contradiction.

"Platte" von Apache 207 erscheint als Re-Release in Form einer limitierten Picture-Vinyl-Edition im Sleeve (bedrucktes Innersleeve, Lack und Prägung

Die Indie-Rock-Supergroup Bad Books, bestehend aus Andy und Robert vom Manchester Orchestra sowie Kevin Devine, veröffentlicht eine atemberaubende akustische Neuinterpretation ihres zweiten Albums und Klassikers 'II' aus 2012. Dabei wurden auch Tracklisting und Artwork neu angepasst. Blau-gelb-farbiges Vinyl.

Der wahre Blues ist lange keine Neuigkeit mehr. Hier finden sich nun 16 elektrifizierte Post-War Kracher, aufgenommen zwischen Chicago und New Orleans, die oft nur ein kurzes Leben als 7"-Single fristeten und heute begehrte Sammlerobjekte sind. Diese Musik wurde in verschwitzten Clubs und bei House Rent Parties der 50er und frühen 60er Jahre gespielt bzw. aufgelegt. Und noch heute kann man exzellent dazu tanzen, denn alle Tunes sind schnell, rauh und dafür gemacht, die Meute in Bewegung zu bringen. Volle fünf Sterne für die fünfte Veröffentlichung der Rockinitis-Reihe! Diese Zusammenstellungen zeigen die rauen und wilden Klänge des rockigen Electric Blues aus den 1950er und frühen 1960er Jahren. Auf der A-Seite ist R-Man, Chef des Stag-O-Lee-Labels, mit weiteren acht Dirty-Blues-Dancetracks zurück, zu denen die Tailfeather zwingend geshaket werden muss. Jeweils zwei Tunes von Killerlabels wie Excello, Groove, Herald und Chess/Checker. In diversen Clubs auf Tauglichkeit getestet. Die Rückseite bestreitet Donna Driscoll, langjährige Kennerin und Sammlerin zwischen Northern Soul und R&B aus London. Donna legt regelmäßig in Blues- und Soul-Clubs sowie bei Mod-Events im Vereinigten Königreich und im Ausland auf. Egal in welcher Stimmung man ist, ihre Auswahl wird jeden in Bewegung und zum Grooven bringen. Hear me now!

Atack’s founder member and lead guitarist Keith Atack has a long pedigree in the rock music scene. He grew up during the sixties and was influenced from an early age by bands like The Beatles, Rolling Stones, Yardbirds and then on to Jimmy Page and Ritchie Blackmore. He has also toured with many pop acts like Bonnie Tyler, Rick Astley and many others. He has a rock / funk / soul style as well as a jazz and blues influence. He is joined by band members that also have strong roots in the rock scene such as Bob Richards on drums who has rubbed shoulders with members of bands like Iron Maiden, Survivor, Asia and Shy. Bassist Chris Childs is well respected and is the bass player with UK stalwarts “Thunder/ Lonerider/Tyketto”, he is an ideal addition to the line-up along with seasoned vocalist Lee Small (Shy/Phenomena/Lionheart and many more). Finishing off the quintet is Nick Foley whose keyboard prowess is ever present throughout the album. The sound of the Hammond for which he is known gives the whole album a feel of Deep Purple and Rainbow with a true classic British Rock sound. “Nine Lives” is an exciting addition to the escape music roster and available in limited edition vinyl and CD formats, something very much to look forward to.

Mount Maxwell returns with another full-length journey into memory, melody, and geography - this time roaming beyond the BC environs of his previous records into a stranger, less knowable country. While still woozily nostalgic in the vein of Only Children and The People’s Forest, this outing feels more exploratory and wide ranging in scope, with a denser mixture of influences at play. The somnambulistic drift of Sea of Milk sets the stage with a series of wavering synth pulses that push us languidly toward land, eventually setting us down on the sands of Maze Crete, where a shadowy latticework of hand drums, flutes and synths await. From there we ascend to the aptly named Sky Eye, a rolling mixture of acoustic beats and analog string machines that gives us our first bird’s eye view of the album’s landscape. A Long Road pushes the acoustic instrumentation further, with shimmering tambourine marking time for a collection of hand drums and shakers, while Ages summons up an occult-like dream of glacial arpeggios and whispering synths. Slow Moves and Tree Motion float effortlessly along on beds of lazy congas and woodblocks before finally giving way to the title track - a heady juggernaut of distorted synths and trundling rhythms that propels us through the album’s second half like a locomotive through darkening hills. Drawing the record to a close, the gently repeating keyboard phrase of Mist blooms unexpectedly into a rainbow of human voices before evaporating into the oceanic swells of Hi Traveller. And there Littlefolk leaves us as it found us; adrift in a rolling sea.

C"mon Tigre, the innovative music collective known for their genre-blending compositions, releases their highly anticipated fourth album Habitat. Drawing inspiration from the concept of an ecosystem where various forms of life, both animal and vegetal, thrive and coexist, the album takes listeners on a sonic journey through the intricate and ever-evolving nature"s theater. C"mon Tigre"s ability to blend inï¬éuences from distant corners of the world enriches their music and visual imagery. The album is deeply inï¬éuenced by rhythms coming from Brazilian tradition, the backbone is rooted in samba, forro, through instruments and tempos that come from this cultural magnificence. However, it retains the African jazz, electronic, and mixed inï¬éuences that have characterized the project thus far. Connecting the dots, the result is a richly layered and genre-defying soundscape. The record boasts a stellar lineup of collaborations. Among these are Seun Kuti, heir to the legacy of the legendary Fela Kuti, whose afrobeat roots infuse the album with a potent and infectious energy. The record also features Xenia Franca, a dynamic Brazilian artist hailing from Sao Paulo, Arto Lindsay, recognized as a pivotal figure in the world of experimental music, Giovanni Truppi and the Californian collective Drumetrics which featured on C"mon tigre"s records since their debut in 2014.

Zweite Auflage des "Downer" Albums als Vinyl in neuen Farben Rot und Gelb! ten56. stehen kurz vor der Veröffentlichung ihres ersten Full-Length-Albums "Downer", das aus zwei Teilen besteht, die bereits als EPs veröffentlicht wurden. Ihre Musik ist die perfekte Porträtierung von brachialer Aggression, dystopischer Weltsicht und einem erdrückenden Gesamtsound mit Aaron Matts beeindruckenden Vocals.
Bouncy-Aspekte auf Tracks wie "Yenta" oder dem "Diazepam" (der bereits fast 3 Millionen Streams auf Spotify erreicht hat) sorgen unvermeidbar für Headbang Momentum. Einflüsse von Trap-Musik und andere Einflüsse kulminieren in einem hochmodernen Sound, der gleichzeitig die besten Trademarks des 2010er Deathcores einbaut. Ähnlich bedrückend wie Korns „Selftitled“ Album oder Slipknots „Iowa“ präsentieren ten56. ihren beängstigenden Sound in Tracks wie "Boy" oder "Traumadoll", während stampfende Grooves, knallende Riffs und aggressive Drums kombiniert mit Rap-Elementen "Saiko" zu einem weiteren Brecher werden lassen, der (im guten Sinne) fast schon unangenehm klingt.
Kurze Blast-Beat-Passagen sorgen für noch mehr Härte, als ob "Downer" nicht schon heavy genug wäre. Als Bonus gibt es mit "Choky" einen exklusiven Track auf dem Album, der mit Downtempo-Grooves einmal mehr ten56.s faszinierenden Nu-Metal-beeinflussten Deathcore-Sound aufblitzen lässt. ten56. verstehen sich als moderne Interpretation der frühen Emmure, kombiniert mit Nu-Metal der goldenen Ära, eingängigen Grooves und einer zerstörerischen Soundwand, wie man sie von Humanity's Last Breath kennt - das Ergebnis ist mit Sicherheit deine neue Lieblings-Deathcore-Band!

- 20-track collection includes Charles Bradley & The Menahan Street Band covering Sixto Rodriguez, Iggy Pop & Zig Zags performing a Betty Davis classic, Ethan & Maya Hawke interpreting Willie Nelson, and Angel Olsen paying homage to Karen Dalton - Double LP pressed on special limited edition color wax - Featuring new cover art by renowned British artist Sophy Hollington - Booklet with track-by-track notes by Lydia Hyslop // For more than 20 years, acclaimed reissue label Light in the Attic Records has shined a spotlight on some of music's most unique - and often forgotten - voices. But reviving these long-out-of-print recordings is only half of the process. "We believe that an essential component of archival work, aside from simply honoring the music, is to seek ways in which to bring fresh perspectives, context, and reverence to the original artists and their work," says LITA founder, Matt Sullivan. Thus, LITA's acclaimed cover series was born, in which contemporary acts pay homage to their favorite LITA artists and songs. Spanning more than a decade, 20 of these inspired cover songs will be available together for the very first time on the 2xLP Light in the Attic & Friends. From Charles Bradley & The Menahan Street Band covering Detroit singer-songwriter Sixto Rodriguez and Mac DeMarco performing a song by Japanese icon Haruomi Hosono, to Iggy Pop & Zig Zags honoring funk queen Betty Davis, and Ethan & Maya Hawke covering country great Willie Nelson, these performances bridge the gap between generations, languages, and musical traditions.

'Elephantasia' is a glorious folk opus from 1972, long lost and attaining a legendary reputation for its candour and creativity, from the late Bangor-born singer/songwriter Dave Evans. Finally, the LP sees the light of day again via Earth Recordings, it is a true gem from the vaults of British folk history. For fans of Nick Drake, Bill Fay and Davy Graham - with a touch of Michael Chapman, Bert Jansch and Fahey for good measure. Dave Evans' story is like a Pinter play; he sailed the seas in the merchant navy, was taught guitar in a brief interlude by the "mythical" Morocco John, wound up sharing a room with Steve Tilston in 1963 when they attended Loughborough Art College and ran the local folk club, while learning to make stringed instruments, the art of wine making and ceramics. Over the next year, Dave got a domestic 2-track reel-to-reel tape recorder and experimented with its two speeds to produce the tracks 'Elephantasia' and 'Lady Portia'. He pulled in members of local prog band Squidd, including latter day Hawkwind member Steve Swindells on keyboards, John Merritt on bass and Rodney Matthews on drums, who also designed the 'Elephantasia' album cover, and went on to become a renowned fantasy artist. 'Elephantasia' the album was originally released in 1972, fully exposing Dave's finger picking style, lilting vocal and his dalliance with the tape manipulation. It sold around 2000 copies and over the years became a talked about rarity, deemed too progressive for folk, too folk for the new prog heads. In best plot-thickening style, Dave tried two more releases and then disappeared. The scant sleeve notes recounted the songs' creation, featuring tales of experimentation in sound inspired by elephants, old memories recounted with all of the unpleasant bits edited out, storylines for escapists, the residents of St Agnes Park, broken beauty queens and a fat feline. It's an eclectic but beautifully fluent narrative from a finger picking maestro with a warm and engaging vocal style that wowed Peel and Whispering Bob back in the day. Dave Evans sadly died in April 2021. Earth Recordings is proud to reissue 'Elephantasia' for the first time in over 50 years, in collaboration with his estate and original Village Thing producer Ian A. Anderson. "Cult status guaranteed." Uncut. Classic Black Vinyl, DL card. CD Digisleeve.