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The band emerged in the late 70s punk scene in Glasgow and released a handful of singles in the 80s but not a debut album until 2014. This highly anticipated follow up is a must have for fans for unique, honest rock n roll. It's a truthful, painful and raw document of The Lonewolves at the height of their powers

What is the connection between talented Theremin player and founder member of the Buggles Bruce Woolley and psychedelic pop band The Honey Pot? Well, in he autumn of 2008 Bruce kindly listened to Icarus Peel's newly-completed album Tea At My Gaffe" and suggested that he should stay on the psychedelic journey. Soon after, Icarus met DJ Marrs Bonfire of Bay FM, who featured the album on one of his "Smart Set" shows. The challenge from Marrs was for Icarus to write a Revolver" style album with shorter songs, and thus "To The Edge" was composed and produced with Wayne Fraquet on drums and Jacqueline Bourne and Iain Crawford on vocals.

Diese limitierte und edle Schallplatte der US-amerikanischen Rock-Supergruppe KISS beinhaltet kultige Live / Broadcast Aufnahmen aus dem Jahr 1989. Natürlich inklusive den Mega-Hits Lick It Up, Cold Gin, God Of Thunder, Destroit Rock City u.v.m. ! Diese Scheibe gehört in jede KISS- und Rock-Sammlung!

Grammy-nominated Kim Richey returns with her first album of new music in six years. The album's 10 tracks share a common thread of nostalgia and longing for times gone by. The album, except for one song, was produced by Doug Lancio in Nashville. Piano, flugel horn, pipe organ and acoustic guitars elevate these songs to a place that defies genre, but live somewhere in the folk, country, rock universe and illustrate what an incredible songwriter and singer Kim Richey is.

Liebe zum Detail, Raum für Improvisationen, keinerlei Genregrenzen. Das ist die musikalische Philosophie hinter Orbit Kid Society. Kreativer Kopf des Ensembles ist die Berliner Sängerin und Komponistin Sophie Lindmüller. Statt in musikalische Beliebigkeit abzugleiten, präsentiert Lindmüller mit ihren hochkarätigen Bandkolleginnen und-Kollegen ein dramaturgisch geschlossenes, in jeder Hinsicht fesselndes Album. In ihrem Klanguniversum treffen freischwebende, im Moment entstehende Klänge auf auskomponierte Linien, blechernen Grooves und elektronische Samples.

Das Chaos ist zurück: Hier kommt das Vinyl zum vierten Teil von Lloyd Banks' Halloween-Havoc-Mixtape-Serie. Auf "Halloween Havoc IV: The 72nd Hr" droppt der Rapper aus Southside Jamaica Queens 15 neue Tracks samt Features von Vado und Sy Ari Da Kid. Die erste "Halloween Havoc" erschien 2008 und wurde 2015/16 mit den Teilen zwei und drei fortgesetzt.

Vicent, an electronic music producer, unveils his debut EP titled “Find Yourself”, offering a deep dive into a techno universe subtly infused with Japanese influences. This innovative project features four mesmerizing original tracks, complemented by remixes from BXTR, Swooh, and Iannis Rezgui. Notably, a unique ambient piece crafted exclusively from sounds recorded in Japan is included. For enthusiasts of authentic soundscapes, a limited edition vinyl release is also available.

"The Eighties spawned many iconic films such as Footloose, Dirty Dancing, Ghostbusters, Rocky and The Breakfast Club. Despite all the different genres, they all had something in common: great film music. 80’s Movies Hits Collected is a collection of music that is inextricably linked to Eighties movie classics, including Queen, Billy Ocean, Lionel Richie, The Bangles, Duran Duran, Pat Benatar, Tina Turner and Survivor amongst many others. 80’s Movie Hits Collected is available as a limited edition of 1500 copies on translucent blue (LP1) and gold (LP2) coloured vinyl. This 2LP-set includes an insert with liner notes, photos, and credits. "

80'S Movie Hits Collected by Various Artists, released 24 May 2024, includes the following tracks: "Philip Oakey & Giorgio Moroder - Together In Electric Dreams (From Electric Dreams)", "Limahl - Never Ending Story (From The Never Ending Story)", "Los Lobos - La Bamba (From La Bamba)", "Ray Parker Jr. - Ghostbusters (From Ghostbusters)" and more.
This version of 80'S Movie Hits Collected comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, blue disc. Another vinyl is pressed as a translucent, gold disc.

"Recorded absolutely live in the USA, “Rock n’roll Sword Fight” captures the fun and exciting experience that is Gyasi (pronounced Jah-See) on stage. A flamboyant singer/guitarist/songwriter from Nashville, glam rocker Gyasi brings back the heavy sounds once pioneered by T-Rex, The Stooges and Led Zeppelin. This is raw power for new rock n’ roll people. Play it loud!

“Reviving the true spirit of the glam style.” — Tone Scott/GOLDMINE
“Groove and fizz with all the melodic energy of the 70's great.” – SHINDIG! “Sassy, stompy glam rock fun, dripping in sequins and colourful eyeshadow.” — Polly Glass/CLASSIC ROCK -

"The outsized sounds emerging from the Excelsior Mill organ captured here constitute a unique chapter in the Sun Ra story, a dizzying phantasmagoria that offers a whole new view on what Ra could do. It might thrill you; it might unnerve you; it might strum your heartstrings; it might spook the living daylights out of you. Most likely you’ll experience all of the above before the jolting musical jeremiad is done. The CD includes the full uncut show with music not featured on the LP version!

When you’re Sun Ra, you don’t need synthesizers to evoke apocalyptic visions and interstellar excursions. You don’t even need a band.

Ra is most widely known for working with various iterations of his Arkestra, but he was no stranger to unaccompanied keyboard expeditions. His discography contains solo piano albums, solo Fender Rhodes records, and solo recordings on conventional organ, the latter going as far back as his home recordings from the 1940s. But none of those instruments ever offered Sun Ra the kind of sonic artillery that waited beneath his fingers and feet when he sat before the keyboards, pedals, and multicolored constellation of tabs controlling the Wurlitzer pipe organ.

Mystic and magisterial, Ra comes off here like a cross between a demonically riffing ‘50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel. Brassy stabs provide the kind of punctuation that could be graphically rendered as an endless string of exclamation marks in 500-point font. String-like swoops and swirls dance across the top of the carnage, cooling the flames just enough to keep the whole thing from combusting (for a while at least) but never dousing the fiery fury that Ra draws forth from the instrument.

The Emmy-winning Comeback Kid himself comes back yet again with a blunt, brilliantly quotable stand-up special. "Baby J" takes the form of a wide-ranging conversation between John Mulaney, a kid in the balcony named Henry, and the rest of the sold-out crowd at Boston"s Symphony Hall. And now, you! John dominates the chat, of course - and while his cautionary tales are a bit too convulsive to be functionally preventative, you probably aren"t here to be cautioned. So have at it!

With the brand new single 'Solid Air' (featuring Rosie Frater-Taylor), we announce the eponymous album from 'The Modern Jazz & Folk Ensemble', out on 24 May on Acid Jazz. It follows the release of two singles ‘I’ve Got a Feeling’ (with Jacqui McShee) and the spellbinding version of Nick Drake’s ‘Parasite’ (featuring Kindelan),

Led by the trail blazing London based saxophonist Sean Khan, the album pays tribute to the sounds of the late ‘60s and early ‘70s folk revival, recast and reimagined in a jazz setting, with featured guest vocalists, including compositions by Pentangle, Sandy Denny, John Martyn and Nick Drake.

Featured singers include the legendary Pentangle lead singer Jacqui McShee, acclaimed singer-guitarist Rosie Frater-Taylor on the back of her recently released and critically acclaimed ‘Featherweight’ album on Cooking Vinyl, plus emerging artist Kindelan from vibrant Leeds folk and jazz scene.

Sean Khan is known as one of the UK’s premier saxophonists, driven by a serious work ethic and urge to create new sounds. The Modern Jazz and Folk Ensemble is his follow up to Supreme Love: A Journey Through John Coltrane released on BBE Records. His distinctive playing can be heard throughout, as he successfully connects the dots between Coltrane and Nick Drake

Seit über 4 Jahrzehnten erforscht Uli John Roth nun die Grenzen des Gitarrenspiels. Bis hin zu seiner legendären Sky-Guitar, ein 6 Oktaven umfassendes Lead-Instrument! Vor seiner Reise in die Sphären von Musik in Verbindung von Philosophie uns Spirit war er aber Lead Gitarrist der Scorpions und hat damit Geschichte geschrieben! Nach all der Zeit hat Uli John Roth einen Blick zurück gewagt, auf eine legendäre Zeit und Alben wie »Fly To The Rainbow«, »In Trance« oder »Virgin KIller«! Er stellte ein Band zusammen, kam nach Hannover und spielte diesen musiklaischen Rückblick in eben der Halle ein, in der die Scorpions in den Jahren 1973 - 1978 probten. So schließt sich ein fulminanter Kreis zu einem elementaren Album!

2024 reissue of Thomas Bückers debut album as Bersarin Quartett, originally released in 2008 on Lidar.

With some albums, you realize within a few seconds that here you have come across something really special. It is music that touches you straight away. Music that is important, that has a story to tell – and that manages to do so without even a single line of lyrics.

Wonderful orchestral pieces full of longing and melancholy. It is that certain kind of melancholy that seizes you when you are moved while following the final credits of an emotionally touching movie, remembering special moments that have faded in the course of many years and linger hazily in your memory, when you are somewhat wistfully contemplating old, worn photographs from days passed by … not a feeling of failure or hopelessness, but a bittersweet reflection.

Orchestral cinemascope sounds provide the emotionally moving fundament, wrap the tracks up in a warm coating. Graceful strings pile up, creating big moments and repeatedly ending inmelodies that are simply heart-rending, cinematic and tragic. But the Bersarin Quartett does not merely rely on these ingredients. The songs are also repeatedly interspersed with suspenseful and surprising elements, be it frail electronica, hypnotic soundscapes, drums or reverbed guitars. Rarely has amelange sounded as convincing and natural as this, and rarely has it sounded so well produced.

Thomas himself calls his music “imaginary fictional filmscores“. And it is hardly possible to come up with a more apt term. 10 tracks for 10 movies that have yet to be shot. Music that radiates such an enormous and authentic passion in every single minute, that one can’t help but completely abandon oneself to it. And honestly: Can there be anything more wonderful that can be achieved through music?

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Folk-Singer/Songwriter Moddi offenbart auf dem Album "Vandreviser" seine persönlichen Erfahrungen während einer abenteuerlichen Pilgerreise durch die bahnbrechende norwegische Natur. Ohne Mobiltelefon und ganz allein begibt er sich jenseits der Komfortzone, nimmt alle Instrumente von Mundharmonika bis Kirchenorgel selbst auf und verfeiner seine Tagebucheinträge mit Liedtexten aus dem Gesangbuch und spontanen Feldaufnahmen vom Wanderweg.

Es gibt nur einige wenige große Bands auf unserem Planeten, die man innerhalb weniger Sekunden unfehlbar identifizieren kann. Das einzigartige
Melodieverständnis, die geschmackvolle Instrumentierung, die richtige Balance aus Tiefe und Eingängigkeit, und dann natürlich diese charismatische
Stimme: Magnum sind Magnum!
Dies gilt auch für ihr neuestes Studioalbum ‚Here Comes The Rain‘, das am 12. Januar 2024 über Steamhammer/SPV als CD+DVD, Doppel-Vinyl-LP, als
Boxset und als Digitalversion veröffentlicht wird und einmal mehr beweist: Stimmungsvoller kann klassische Rockmusik kaum klingen.
Das fantasievolle Artwork stammt wie gewohnt aus der Feder des großartigen Rodney Matthews, der bereits für zahlreiche Magnum-Scheiben das
äußere Erscheinungsbild an die atmosphärisch dichte Musik der Band perfekt angeglichen hat.
Kein Zweifel: Mit ‚Here Comes The Rain‘ ist Magnum in der Besetzung Catley, Clarkin, Keyboarder Rick Benton, Bassist Dennis Ward und Schlagzeuger
Lee Morris erneut ein farbenfrohes, abwechslungsreiches und in jeder Sekunde inspiriertes neues Studioalbum gelungen.

Black Uhuru wurde Mitte der 70er Jahre gegründet und stürmte in den frühen 80er Jahren wirklich in die Reggae-Szene, als Sly & Robbie die künstlerische Leitung übernahmen und wichtige Alben wie Showcase, Sinsemilla, Red, Chill Out und Anthem produzierten (beachten Sie, dass es sich um eine großartige Sammlung ihrer Alben handelt). Singles für Sly & Robbies TAXI-Label sind auf TAXI TRAXX erhältlich und wurden letztes Jahr von TABOU1 veröffentlicht.

Die Alben waren nicht nur künstlerisch bahnbrechend, auch die Live-Shows waren großartig. Eine Lawine aus kraftvollem Drum and Bass, ergänzt durch grenzwertige Metal-Rock-Gitarren des verstorbenen Darryl Thompson, lieferte ein Fundament aus Rhythmus und Energie für Michael Roses Lead-Gesang und Duckie Simpsons und Puma Jones‘ Backing-Gesang.

Die erste US-Tournee von Black Uhuru fand 1982 statt. Damals steckte Reggae in den USA noch in den Kinderschuhen und es gab nur drei Reggae-Radiosendungen in Kalifornien: Doug Wendt in San Francisco, Roger Steffens in LA und Lance Linares in Santa Cruz. Lance leitete nicht nur seine Radiosendung bei KUSP, sondern buchte auch Künstler in Santa Cruz und arbeitete mit dem Soledad-Gefängnis zusammen, um Insassen dabei zu helfen, berufliche Fähigkeiten zu erwerben, die sie nach ihrer Entlassung aus dem Gefängnis nutzen könnten. Lance kontaktierte die Organisation Black Uhuru und bot an, ein Konzert im Gefängnis selbst zu organisieren. Zu seiner Überraschung wurde seine Idee begeistert angenommen und die Gruppe trat vor vollem Haus im Soledad-Gefängnis auf.

Was wir auf dieser Doppel-LP hören, ist das gesamte Konzert, das live auf KUSP übertragen wurde. Seine historische Bedeutung ist enorm und kann mit dem Reggae-Äquivalent der legendären Live-Aufnahme der amerikanischen Legende Johnny Cash in Folsom verglichen werden. Außerdem wurde das Konzert per Video aufgezeichnet. Wir haben das Video mit modernster Technologie restauriert und Schlüsselmomente des Konzerts kuratiert. Jedes dieser Videos kann mit der Artivive-Anwendung auf ein Smartphone gestreamt werden. Sobald die App installiert ist, können Benutzer die Videos ansehen, indem sie ihr Telefon auf die Fotos auf dem Plattencover (von Bruno Tilley) richten, die mit dem Artivive-Logo gekennzeichnet sind. TABOU1 ist stolz darauf, das erste Plattenlabel zu sein, das diese Augmented Reality-Funktion anbietet.

The album will be released through Neurot Recordings in collaboration with Supernatural Cat, the record label of the rock ‘n’ roll graphic design collective Malleus, of which Poia and Urlo are part of.

Ufomammut formed in the late 90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), (rising from the ashes of past band Judy Corda), together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP.

Over the course of 25 years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of psychedelic tradition in music.This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners.

The band has produced 10 records along with various other releases, such as compilations, EPs, and live albums.

Now, in 2024, as they celebrate their quarter-century milestone, the band is set to release their latest album, HIDDEN. This album marks a shift in the band’s musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer.

The title, HIDDEN, reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With HIDDEN, Ufomammut delves into a sonic journey that traverses vast expanses of space and time.

From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, HIDDEN testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

The album was recorded at Flat Scenario Studio in Piemonte, Italy, with Lorenzo Stecconi handling the mixing and mastering, and Luca Grossi overseeing vocal tracking.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Die zweifach Grammy-nominierte Band Rival Sons veröffentlicht eine remasterte Version ihres 2012er Albums Head Down auf ihrem eigenen Label Sacred Tongue Records.

Das von der Kritik hochgelobte dritte Album der Band wurde von vielen als Meilenstein gefeiert und erhielt Auszeichnungen aus aller Welt. Head Down enthält die Hit-Single und den Fan-Favoriten Keep On Swinging sowie die poppigen Retro-Tanznummern Until The Sun Comes und Wild Animal. Head Down ist ein Album, das die Vielseitigkeit von Rival Sons unter Beweis stellt. Es enthält auch die klassische Ballade über Tod und Verlust (Jordan) und Manifest Destiny Parts 1 & 2, ein epischer, wuchtiger Room Shaker über Verrat und Rache der amerikanischen Ureinwohner.

James Devane returns with another adept investigation into minimal techno’s spaces in between. “Searching” serves as both companion to “Beauty is Useless” and the next logical step in James’ exploration of process as guiding compositional tool. Conceptually simple, technically robust, the end result elicits both an undeniable groove and a trove of detail for listeners willing to go deep. In his own words: “These recordings are the result of chance. Using hours of source material, everything was “chosen”, manipulated, and assembled at random via custom software without concern for key, tempo, measures, or rhythm. A search button and a save button.”

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

"Sugar Minott was a Jamaican reggae star who was a pioneer of the dancehall style. Minott was a producer, label head, and sound system operator. He collaborated with one of Jamaica’s most accomplished producers, Lloyd James aka King Jammy, and among their collaborations was the popular 1979 LP Bitter Sweet, which included the seminal dancehall anthems “Give The People” and “I’m Not For Sale”. For the first time in over 40 years, Bitter Sweet is being reissued on vinyl. The album is available as a limited edition of 750 individually numbered copies on orange coloured vinyl."

Bitter Sweet by Sugar Minott, released 24 May 2024, includes the following tracks: "Never Too Young", "Right Track ", "Save The Children " and more.
This version of Bitter Sweet comes as a 1xLP.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

Die zweite LP des britischen Alt-Pop-Duos Dirty Nice - bestehend aus Charlie Pelling (Don't Hug Me I'm Scared) und dem in Lissabon lebenden Mark Thompson - folgt auf das vielgelobte Debüt "Lobster" (2021), Tourneen mit Dâm Funk, Elder Island und Cousin Kula und Kollaborationen mit Wet Leg, Desta French und Bad Sounds. "Surrenderland", inspiriert von Indie-Einflüssen der 2000er Jahre, ist sowohl physischer Ort wie auch Geisteszustand und erforscht Themen wie die freudige Akzeptanz des Selbst und das Aufwachsen, ohne dabei das innere Kind in sich zu unterdrücken.

Es ist durchaus eine kleine Sensation, dass dieser Tage ein weiteres MORBID SAINT-Album erscheint, also mehr als 30 Jahre, nachdem ihre zweite LP „Destruction System“ aufgenommen, aber bis zu ihrer offiziellen Veröffentlichung vor kurzem nicht fertiggestellt worden war. Allerdings war die Aussicht, neue Musik in ihrem einzigartigen Death/Thrash-Metal-Stil zu schreiben, einer der Hauptgründe dafür, dass sich die Kernmitglieder 2010 überhaupt wieder vereinten. Während ihrer ersten aktiven Phase von 1984 bis ’94 konnte die Band ihr Potenzial längst nicht ausschöpfen, insbesondere im Hinblick auf ihre bahnbrechende erste Platte „Spectrum of Death“ (1990). Das neue Werk entstand im kreativen Fernaustausch, wobei sich alle Mitglieder gegenseitig Ideen zuspielten, um ein Breitseite aus zehn Extrem-Metal-Tracks abzufeuern, wie man sie heute kaum mehr hört – absolut verheerend und doch musikalisch anspruchsvoll, Grenzen überschreitend, aber nicht auf Teufel komm raus, und abgerundet von einem Artwork des legendären Ed Repka (Death, Megadeth). „Swallowed By Hell“ wurde von Chris Djuricic (Num Skull, Disinter) im The Belle City Sound Company aufgenommen und erhielt den letzten Schliff von Scott Elliott in den Chernobyl Studios. Es riecht nach alter Schule, steht aber mit beiden Beinen im Hier und Jetzt. „Eine bessere Besetzung könnte man sich nicht wünschen“, sagt Gitarrist und Mitbegründer Jim Fergades. „Wir freuen uns jetzt über alle Möglichkeiten, und je nachdem, welche sich uns bieten, kann eine Menge passieren.“

Drunk Uncle isolated themselves into a cabin on an East Texas farm to write and record the follow up to their debut Look Up in 2022. The result "O, brittle weather!" is a thoughtful, probing album that explores a cacophony of sounds in a playful and whimsical way. The album feels like a telling of a great story- songs like pages colored with splashes of acoustic and electric guitars, floating bass, keys, horns, and percussion that ranges from a whole kit to a single tambourine that succinctly cues up the next chapter. Narrated by melodic vocals belting out emotional poetry, "O, brittle weather!" seems to plead with you to keep listening until the last word. Then, it begs you to listen again. Most bands are content to just collect a handful of songs and group them together as an album. Drunk Uncle strived to make something bigger than themselves. And wouldn't you know it, they succeeded.

After a hiatus of five years, The Pearlfishers, Glasgow"s finest, return with their ninth album for Marina - most probably their best and most immediate one so far. Driven by main man David Scott"s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems - full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: "I didn"t know how to say the right thing / So I left it to Joni and Paul...". Those mix tapes that came straight from your heart & soul - "the nub of it, the truth of it, the "you" of it." It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott"s nod to Terry Hall"s The Colour Field.

After a hiatus of five years, The Pearlfishers, Glasgow"s finest, return with their ninth album for Marina - most probably their best and most immediate one so far. Driven by main man David Scott"s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems - full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: "I didn"t know how to say the right thing / So I left it to Joni and Paul...". Those mix tapes that came straight from your heart & soul - "the nub of it, the truth of it, the "you" of it." It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott"s nod to Terry Hall"s The Colour Field.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

This release is the first volume of the Phase x Heist Mode collaboration, a double vinyl of various artists with collaborations, singles and locked grooves.

This release reflects the union of both artists and collectives despite the distance of many kilometres.

This first volume is composed of sounds that are very peculiar to each artist but all have a musical connection to each other.

"Rave-up & turn on! Fueled by a classy high-stepping image and hot instrumental licks born of old R&B and Northwest stalwarts the Kingsmen, Wailers and Sonics, this collection shows their always excellent material ranging from '60s punk to sunshine pop. Includes their debut single!

In many ways they were one of the quintessential Northwest bands. Their credentials were impeccable - leader Don Gallucci was a classically trained pianist who, as a younger teenager, played keyboards for the Kingsmen on "Louie, Louie." Early guitarist Pete Oulette had been in the Raiders and his replacement, Jim Valley, had founded the white hot Seattle band the Viceroys. When Valley got the call to become "Harpo," his slot was filled by Charlie Coe, who had played with the Raiders and Jack Ely and the Courtmen. And the last Goodtime guitarist was Joey Newman, who had made his mark with the Enchanters and Merrilee Rush and the Turnabouts.

Their only hit single, "I Could Be So Good to You," a Jack Nitzsche song, was their only national hit (#56) in spring 1967. Their Nitzsche-produced Epic album So Good was a curious amalgam of Overman originals and British Invasion covers.

Their earlier sound is much more raw – "You Were Just a Child" could have been a national hit. The dynamics and bridge in this are killer, as is the pulverizing fuzz bass. "I'm Real" may be the punkiest Don and the Goodtimes got; Note the cool reference to LA disc jockey "The Real" Don Steele. Other cuts like like "Make It" are as Northwest as they come. Rough and raunchy, this hot instrumental was the B side of their first single."

Common Blah is the debut full-length by Portland, Maine's Weakened Friends. Founded by songwriter Sonia Sturino, drummer Cam Jones, and bassist Annie Hoffman in 2013, the trio is a low pressure outlet for volatile music. Recorded by Hoffman and perfected over the last year, the songs broadcast heavy feelings amid screech and feedback with little more than a distortion pedal the clog up the signal chain. The album also features guest shredding by peer and kindred spirit J Mascis (on the song Hate Mail). Common Blah will be out via Don Giovanni Records on October 19th.

"I'll Be Okay" ist das Debütalbum des beliebten Belfaster Slowcore-Lo-Fi-Bedroom-Musikers Sign Crushes Motorist (Liam McCay), der auch unter dem Namen Birth Day veröffentlicht. Das Album erschien ursprünglich im August 2022 und gewann stetig an Aufmerksamkeit in der Slowcore-Welt. Der damals 18-jährige McCay hat sich seitdem eine grosse Internet-Fangemeinde mit heute 58.000 Instagram-Followern und über 4,2 Mio. monatlichen Spotify-Hörern auf. Ltd. Auflage auf Ultra Clear Vinyl mit Pink Splatter.

Erste Vinylreissue des Kultalbums "Progressive Youth" von Peter Broggs aus 1979, aufgenommen mit der ursprünglichen Roots Radics-Begleitband bei Channel One und gemischt in den King Tubby-Studios von Scientist. Diese Zauberformel vereint die besten Engineers und Musiker Jamaikas, trifft den Nagel auf den Kopf und liefert einen echten Rohdiamanten, 100% pure Roots, bei dem jeder Beteiligte hervorragende Leistungen erbringt. Die LP ist eine der mit Abstand besten Roots-Reggae-Neuauflagen der letzten Jahre, remastered und auf schwarzem 180g Vinyl im 350g-Cover gepresst. Ein absolutes MUSS für jeden Reggae-Fan.

Fresh from winning ‘Best Live Act’ at NI Music Prize 2023, Chalk relentless ascent continues to gather thrilling pace, with EP lead single ‘The Gate’ landing on the BBC 6 Music playlist (alongside PJ Harvey, IDLES, Sampha) to kick off 2024, whilst widespread praise throughout the press community (The Independent, NME, DIY, Dork, So Young, The New Cue, Rough Trade, Consequence of Sound) has certainly positioned the trio at the very forefront of the emerging indie elite.