Suche:l wiz

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

Cristi Cons lands with his debut on Adam's Bite, serving up two pristine cuts of electronic wizardry. The label has previously meddled in strong 90ies aesthetics, delivering starry-eyed homages to days long gone. With the eternal wunderkind at the controls, things get kicked up another notch: following efforts from his peers, he's unearthing, deconstructing, and reassembling some of Frankfurt's halcyon days' most essential sonics.

Drop the needle on the A side to access „Black Swan”, a contemporary house burner perfectly imagining the early trance experiments heard in the dark womb of dance music history. Sprawling across the flipside, „Ahead of the Curve” finds Cristi Cons exploring the psychedelic side of this sound, revealing delicate details to lose your mind in – and a playful bassline keeping bodies earthbound and flowing. Zipping and zapping from Goa to Mainlandia via Bucharest, there's plenty to fall in love with here. Over and over again.

BAR08 is a Various Artists EP with Italian art-aud / secret rave mastermind Kreggo, the debut of Rotterdam talent Pim and Proper, a label debut by German bass wizard Panda Lassow, Teslasonic returns with another mindbending monster, Teeta; the third italian on this sampler with a big electro bass tune and last but not least the mysterious Stoornis 2 with heavy electronic violence.

repressed !

Makin' Moves into our 10th year of releasing nothing but quality soulful and deep house music and needless to say we plan to continue on past this musical milestone and journey.

Now presenting something truly amazing & special to celebrate our tenth vinyl release, we our glad to welcome Ron Trent & Ursula Rucker.

Ursula Rucker : For many years..at least fifteen!! Ron Trent & I have been talking about working & creating together. And NOW..THE TIME HAS TRULY ARRIVED!! It's that..BLACK QUEEN energy! That BLACK QUEEN synergy! That BLACK QUEEN wizardry! THEE VERY first Ron Trent & Ursula Rucker collaboration HAS ARRIVED!! BLACK QUEEN...HAS...ARRIVED.

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

Idiology was originally released in 2001 and is now finally back on vinyl. This re-issue is pressed on white color vinyl and presented in a die cut jacket with artworked inner sleeve and free download card. From their beginnings in 1992, Cologne native Jan St. Werner and Dusseldorfer Andi Toma have consistently challenged electronic music"s paradigm in often surprising and always intriguing ways. Idiology is the duo"s seventh album and is no exception to this rule, as Mouse on Mars surround themselves with strings, woodwinds, brass and the band"s own heavily modified fleet of machines in the St. Martin"s Tonstudio. Fans should once again brace themselves for the inevitable shock of the new as Germany"s most irreverent audio renegades have created the perfect soundtrack for a highly sinister dance party. Kicking off with "Actionist Respoke", the album"s first single, Mouse on Mars officially declare their independence from glitchtronica"s shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which already features Mouse on Mars"s darkest grooves to date. The rest of the album continues to thicken the group"s sonic stew. Tracks such as "Presence" and "Catching Butterflies With Hands" have their populist intentions undermined by Werner and Toma"s meddling hands, while the duo reprise their flirtation with the orchestral as heard on the opening tracks from 2000"s Niun Niggung. At the other end of the spectrum, "Introduce" is a truly evil slice of twisted lympho-zoid hip-hop. Idiology takes no prisoners in its dual-pronged assault on the conventions of modern music. Only with the loungy closing number, "Fantastic Analysis" (a term Werner and Toma invented to describe their working process), do Mouse on Mars let the arrangements breathe a long sigh of relief, the calm after the storm. To enable these stylistic achievements Mouse on Mars enlist the help of partners in crime such as: Nkishi, the multi-talented Harald "Sack" Ziegler, house icon Matthew Herbert on piano, violinist Matty Arouse, in addition to fellow programming wizards Adam "Vert" Butler and F.X. Randomiz. The latter two toured with Mouse on Mars in 2000 as they successfully triumphed over audiences around the globe.

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

King Gizzard & The Lizard Wizard are repressing their sixteenth album, K.G. n 2010. In the wake of a global pandemic, it’s a collection of songs that saw the six members of the band retreating to their own homes scattered around Melbourne, Australia to compose and record remotely. But have no fear! Not a drop of that unnamed alchemical something that makes this band so special is missing. This is the Gizz firing on all sonic cylinders, for if ever a band were built to swiftly adapt to adverse circumstance then it is them. Hell, on paper Covid-19, with its monstrous yet unseen face, ecological implications and new language, even sounds like an abandoned concept for a King Gizzard & the Lizard Wizard album.

Truth be told, the practicalities of the creation of K.G. is a side-issue. It is the contents and the sheer visceral power of music that matters. Music that will live on long after a virus has passed. Back in 2017 the band released Flying Microtonal Banana, now one of their most highly regarded albums. That it was the first of five released by the band that year and was only part the story – a story made all the remarkable by the fact it was recorded using a microtonal musical scale that requires quarter tone tunings, on instruments custom-made for the occasion. It spawned a plethora of live favourites such as ‘Rattlesnake’, ‘Sleep Drifter’, ‘Nuclear Fusion’ and ‘Billabong Valley’ and showed the wider world that the Gizz paint from a palette that extends far beyond the musical colours of western rock. Here were songs in tunings more common in traditional Turkish or Arabic music.

“FMB was one of the purest and most enjoyable recording experiences we’ve had, and the ideas just kept coming” explains de facto band leader and multi-instrumentalist Stu Mackenzie. “But we didn’t think we would play it live as the music dictated a new medium that requires different instruments, new flight cases and so. It was a liberating studio-based experiment which surprisingly translated seamlessly and spawned some of favourite songs to play live.”

So now they return to the microtonal tunings on K.G., an album best described as a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes and via defiantly non-Western rock scales. There’s walk-on theme song ‘K.G.L.W’, the celestial disco-funk of ‘Intrasport’, the righteous life-giving staccato rock of ‘Ontology’, epic stoner-sludge closer ‘The Hungry Wolf Of Fate’, which ends the album in abrupt burst of white noise. All come together to represent the next-level of the expanding Gizz sound.

K.G. is both a stand-alone work and also part of a bigger musical picture. More news on that shall be forthcoming – fans of the band know by now that King Gizzard don’t do things by halves. If music were organic matter, then their albums are ever-changing entities: initial highlights are often superseded on further exploration, favourite tracks replaced by less obvious moments, while riffs or bursts of noise from four or five albums back might suddenly rear their heads again.

-Heavy Metal Sampler mit Underground-Hits und Kultsongs
-umfasst die „goldenen Achtziger“ mit Stücken von 1981 bis 1988
-Vinyl only (keine digitale Version)!
-EYECATCHER: attraktives Cover mit Hommage an die Serie
„Stranger Things“
-bedruckte Innenhülle mit Essay über den 80s Metal und viele Fotos
-mit einem neuen Vinyl-Remaster des Manilla Road Klassikers
„Necropolis“
Trotz dem Vinylboom, der in szenestarken Musikrichtungen
noch deutlicher ist als in der Popmusik, gab es in den letzten
Jahren bisher wenige Compilations auf LP. Dabei waren
Zusammenstellungen ein ebenso wichtiger Teil der Siebziger und
Achtziger, eben in der Zeit, als die Schallplatte das gängige Medium
war und ein Mixtape eben nur ein Tape war.
„Heavy Metal Things“ spielt natürlich auf die erfolgreiche TVSerie „Stranger Things“ an, die in den Achtzigern spielt und bei
den Jugendlichen einen ganz eigenen Lifestylewunsch erzeugt hat.
Trotz der spannenden Handlung erlebt man eine Zeit, die in einigen
Punkten doch einfacher und entspannter war – trotz dem Kalten
Krieg und unsicheren Atomkraftwerken. Die Schallplatte (und
erstaunlicherweise sogar die Kassette) gehört in diese Zeit, die sich
mit der Hochphase des Heavy Metal überschneidet. In Szenekreisen
taucht daher oft die Floskel „goldene Achtziger“ auf, denn so
ziemlich jedes Metal-Subgenre wurde hier erfunden oder klang
wenigstens bereits an. Ein ruppiger, teils noch von der Gesellschaft
geächteter Stil wurde zu einem kommerziellen Erfolg. Auch die
Neunziger, gespickt mit Grunge und Crossover, konnten die Rückkeh
des traditionellen Heavy Metal in den 2000ern nicht verhindert. Und
durch die Serie „Stranger Things“ werden Jugendliche auf Songs un
Bands aufmerksam, die in Folge nach über 30 Jahren wieder in die
Charts schiessen.
Trotzdem ist die LP „Heavy Metal Things“ keine Compilation mit
den großen Hits der Mega-Acts in diesem Segment. Im Gegenteil!
Hier wird gezeigt, welche spannenden Acts aus den USA und
Europa zunächst nicht mit dem Massenerfolg gesegnet waren,
allerdings von neugierigen und interessieren Genrefans mittlerweile
entdeckt wurden. So konnte man auch in den letzten Jahren Bands
wie Manilla Road bei Festivals wie dem Hellfest, Sweden Rock
oder Maryland Death Fest sehen. Kultgruppen wie Griffin (USA),
Witchfynde, Malleus oder Dark Wizard kehrten auch zu den
Bühnen zurück. Der Underground ist im Heavy Metal in der Tat
eine größere Sache, als man bei dem Begriff zunächst annehmen
müsste.

King Gizzard & The Lizard Wizard return with new album K.G., their sixteenth since forming in 2010. In the wake of a global pandemic, it’s a collection of songs composed and recorded remotely after the six members of the band retreated to their own homes scattered around Melbourne, Australia. K.G. is a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes via defiantly non-western rock scales.

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst

The Bay Area legend – Rapper, entrepreneur and Cookies Don, Berner, is back with his 19th solo studio album, Gotti. Paying homage to the infamous mob leader, John Gotti, Berner flexes his mafia favors and assembles one of his most impressive cast of features on the 19-track album, including Future, Cozmo, Rick Ross, Nas, Jadakiss, Kevin Cossom, Rod Wave, Mozzy, Conway The Machine, Styles P, Benny The Butcher, Ty Dolla $ign, Ryn Nicole, Millyz, Wiz Khalifa, Janelle Marie & Madeline Lauer, as well as never-before-heard audio from from the mob leader’s trial. After a banner year with both highs and lows, Berner ends the year on a high note with some of his finest work.

Cerrero, Llorona Records founder's solo project, joins young "Gaita flute" and trumpet wizard El "León" Pardo (Ondatrópica) for an acid cumbia infused dub journey to the underground electronic sound of south America. Blend of ritualism and futurism, rough ethereal sound, melancholic voices and analog dub mixing for a unique record that presents the work of the thriving electronic acts from Colombia. Llorona's in-house act, Cerrero, teaming up with another Colombian, gaitero and trompetista, El Leon Pardo. The enigmatic and cult like figure has featured on many-a-Colombian record in recent years, including, Ondatropica and Velandia y La Tigra. Though this might be one of the most exciting match-ups yet. Cerrero's minimalistic electronic beats channeled through an analogue console alongside the abraded howls of gaita and accentuated trumpet work. The deep and bassy four-track EP, Canción Para Un Amigo, was justly named to mark the meeting of these two brilliant minds. Mixed in the extemporaneous ambience of a live recorded session, it makes for a riveting listen. Six standalone tracks, bound through crescendoing loops which culminate in an ethereal and atmospheric ritual of sound which evokes Colombian ancestry. From the spellbinding opening of gaita-led "Canción Para Un Amigo", the EP evolves through "Todo Te Llevaste", a track skillfully stitched between its vocal interludes by the rat-a-tat of accented tambor, a fanfare of trumpets and underpinning bass line. Closing out via "Cumbia en Lejanía"'s, gaita / trumpet led interplay into "Despedida", a pining jazz melody soaked in reverb, it's as complete of a work we've heard yet from Cerrero and represents another glistening gem in the ever increasing bows of the Llorona catalogue. Inescapably mesmeric as it is a true delight.

Red Vinyl

Orange Vinyl

Following the commercial success of the 2021 album Unf*ckwitable and an overall banner year for the Detroit rapper, Babyface Ray comes with the aptly titled and highly anticipated album, FACE, which sees him stake his claim as “The Face of the City.” Production on the twenty-track album is largely handled by 808 Mafia, DJ Esco and others, and features appearances from Icewear Vezzo, Yung Lean, Pusha T, G Herbo, Wiz Khalifa, 42 Dugg & Landstrip Chip. With an already impressive list of cosigns from artists such as Future and Tyler, The Creator, Babyface Ray continues his all-out assault to put Motor City on the map and isn’t taking his foot off the gas anytime soon.

Golden Core haben mit Cutty Sark, Saints´ Anger, Witchfynde, Wildfire
und Dark Wizard bereits acht Klassiker vom kultigen Mausoleum Label mit Erfolg und vielen guten Kritiken wiederveröffentlicht. Eigentlich wäre die Serie hier abgeschlossen gewesen, wenn die belgische Band SCAVENGER nicht den ausdrücklichen Wunsch geäußert hätte, dass Golden Core auch ihr Album, „Battlefields“ aus dem Jahr 1985, den Fans auf die gleiche Weise neu zugänglich zu machen. Der neue Inhaber des Mausoleum Kataloges stimmte zu und der Sache stand nichts mehr im Wege. Scavenger sind wieder aktiv, allerdings seit Februar 2020 ohne Originalmitglied. Dafür wurde die junge und sehr starke neue Besetzung um Sängerin Tine Callebaut von den „Alten“ regelrecht ausgebildet. Eine erste Single sorgte bereits für Begeisterung und ein neues Album ist auf dem Weg. Um den Bogen zu den alten Tagen zu spannen, arbeiteten Scavenger an der Wiederveröffentlichung von „Battlefields“, dem einzigen
Album der Urbesetzung, tatkräftig mit. So spendierte man das Demo aus dem Jahr 1982, welches noch unter dem Namen Deep Throat erschienen ist und heute natürlich extrem rar ist. Eine Tape-Kopie zweiter Generation wurde hierfür von Neudi (Golden Core Rec., Manilla Road, Trance, etc.) so gut es ging aufgearbeitet und zeigt eine Gruppe, die 1982 noch tief im 70s Hardrock verwurzelt war. Weiterhin findet man diverse Livetracks, die klanglich wirklich nur „for fans only“ sind, aber den Zeitgeist als CD-Bonus dennoch perfekt wiedergeben. Die LP-Version enthält aus klangtechnischen
Gründen nur das Album „Battlefields“. Für beide Formate wurde nicht die Mausoleum-Classix CD genommen, sondern eine neue Vinyl-Überspielung von Patrick W. Engel in Auftrag gegeben, die anschließend von Neudi remastert wurde. Für die LP fertigte
Vadim Kulin (ZYX Studio) ein gesondertes Vinylmaster an. Das Booklet und LP-Inlay enthält viele rare Fotos, Liner Notes (exklusives Interview mit der Band), Memorabilia, sowie Scans und Abbildung der Original-LP. 1985 wandelten Scavenger gekonnt zwischen puren Power Metal europäischer Prägung und eingängigem, aber immer kraftvollem Heavy Metal. Kein Wunder dass das Album heute als eines DER Klassiker des Euro Metal gilt. Das beweist nicht nur die Tatsache, dass man vom Coverartwork von „Battlefields“ online einen Badeanzug bestellen kann…

David Agrella returns to his Agrellomatica Records with the spacey house sounds of 'Flowing', featuring remixes from Ben Hauke & Mr Barcode.

Hot on the heels of his recent 'Freedom Unfolding' release, praised by Raresh, Sasha, Laurent Garnier, Vladimir Ivkovic and Dorian Paic, Italian-born tastemaker David Agrella is back on his Agrellomatica imprint with more intergalactic fire. This time, the London-based selector serves up four groove-laden cuts across 'Flowing', including remixes from Woop Records' Ben Hauke and Into The Wizards' Sleeve Mr Barcode.

Title track 'Flowing' is a cosmic voyage peppered with glossy pads, eerie synths and sharp percussion, before Agrella's own 'Sabotage Mix' throws in deep, driving tones, subtle robotic vocals, and interstellar keys. On the flip, Ben Hauke delivers a dubbed-out reshape, harnessing fluttering echoes, emotive harmonies and deep basslines. To close, Mr Barcode provides a punchy electro remix, as warped samples and driving low-ends get down in this slice of dancefloor mania.

Irgendwann kommt die Zeit, in der der Hype um eine Band überflüssig wird, und allein ihr Status Bände spricht. Das ist der Fall bei Emperor, den Black-Metal-Göttern aus dem norwegischen Telemark. Emperor ist als einer der Begründer des symphonischen Black Metal bekannt geworden, für den Norwegen international bekannt ist. Der gesamte Backkatalog der Band wurde von Turan Audio unter vollständiger Anleitung der Band neu gemastert. Außerdem wurden die Alben in den berühmten Abbey-Road-Studios auf Half-Speed-Master neu eingespielt, wobei alle Vinyl-Kunstwerke sorgfältig so restauriert wurden, wie sie ursprünglich von ”Dan Capp” Design und Illustration entstanden.

Diese LP ist für alle Valerie Dore Fans ein Must-have.

Nachdem wir uns bei der “Greatest Hits & Remixes“ LP einen Überblick über die Extended Versionen verschafft haben, gibt
es auf Vol. 2 die Radio Versionen. Fast 50 min. Hörgenuss für alle Vinyl-Liebhaber. Inkl. “The Night“, “It’s So Easy“ , “King Arthur” um nur einige der hier vertretenen Valerie Dore Klassiker zu nennen.

(Half-Speed Remastered 2021)


Am 8. Juli veröffentlichen The Who ihr Album ”Tommy“ erneut, welches als eines der wichtigsten Alben
aller Zeiten gilt.

Das Album ist eine Rockoper über einen taubstummen und blinden Jungen und enthält Songs wie ”Pinball Wizard”, ”The Acid Queen” & ”I’m Free”. Es wurde 1969 veröffentlicht und erreichte Platz 2 in den
britischen Charts und Platz 7 in den USA. ”Tommy“ wurde vom langjährigen Who-Ingenieur Jon Astley von den Originalbändern gemastert und ist in einer Originalhülle mit Obi und Echtheitszertifikat verpackt.

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

These limited-edition black vinyl versions have been mastered by long-time Who engineer Jon Astley and cut for vinyl by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut and are packaged in original sleeves with obi strips and certificates of authenticity.Tommy - Regarded as one of the most important albums of all time, Tommy is a rock opera about a Deaf Dumb and Blind Boy, which, when released in 1969, reached number 2 in the UK charts and #7 in the US. The album contains songs such as “Pinball Wizard”, “The Acid Queen” & “I’m Free” and is packaged in the original sleeve artwork. Sell Out - Released in 1967 Sell Out was the third album released by the Who and is revered for being one of the first concept albums, celebrating the short-lived pirate radio stations of the late 60s with its groundbreaking use of fake adverts and jingles between songs. Highlights include such as “I Can See for Miles”, “Armenia City in the Sky” and “Tattoo”

These limited-edition black vinyl versions have been mastered by long-time Who engineer Jon Astley and cut for vinyl by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut and are packaged in original sleeves with obi strips and certificates of authenticity.Tommy - Regarded as one of the most important albums of all time, Tommy is a rock opera about a Deaf Dumb and Blind Boy, which, when released in 1969, reached number 2 in the UK charts and #7 in the US. The album contains songs such as “Pinball Wizard”, “The Acid Queen” & “I’m Free” and is packaged in the original sleeve artwork. Sell Out - Released in 1967 Sell Out was the third album released by the Who and is revered for being one of the first concept albums, celebrating the short-lived pirate radio stations of the late 60s with its groundbreaking use of fake adverts and jingles between songs. Highlights include such as “I Can See for Miles”, “Armenia City in the Sky” and “Tattoo”

Yet another chapter in the ongoing Alexander Robotnick saga. Electronic wizard Maurizio Dami licensed his second single in 1983 on Materiali Sonori ‘club series’ Fuzz Dance. After the surprising and astonishing success of the debut - Problèmes D'Amour – Robotnick became a sort of cult figure even in the United States and soon was labeled as a forerunner of the electro movement.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

Debut solo project Marek 'Latarnik' Pędziwiatr - musician, composer, pianist & synth wizard. Best known from his bands EABS & Błoto and Jaubi's "Nafs At Peace" album

Influenced by the sound of solo recordings by Thelonious Monk, Ahmad Jamal, McCoy Tyner and Emahoy Tsegué-Maryam Guèbrou, Latarnik gave up electronics in order to record an intimate debut album, commemorating his great-grandmother, using a hundred-year-old Steinway & Sons grand piano and analogue tape. Deeply spiritual and emotional solo piano works from one of the leading lights of the new Polish jazz scene!

BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends. A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe. Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985. Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowd-funding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout. Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner. With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.” Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is!

Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.

Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

A family affair since the early days, WOLF Music have been shining a light on the scenes and sounds the duo are ingrained in. Staying true to form and rolling deep for WOLFEP065, the spotlight turns to a selection of familiar faces and new recruits for a four track VA EP that’s strictly for the groovers.

WOLF OG, man like Medlar kicks it off in signature style with 'Bandit', a heads-down, techno-tinged trip. Machine music with the soul of south London. Next, professor of the dark arts, Manuel Darquart, conjures up the aptly named 'Euphoria' a deep, ‘90s leaning house excursion, synth wizardry and all, that works just as well as a sunset cruiser, as it does an end of the night closer.

On the flip, two long time listeners, first time callers, with a double dose of debuts on the label. Jon Sable takes the B1 with 'Infinite Care', offering up that trademark strong and Sable, In Dust We Trust flavour. Deep, emotive, intricate house with a nod to the worlds of Bruk and Chicago house melded together with that NZ feel.

Closing it out, debut number two comes in the form of rising star moon who lays down a beatsy, broken earworm ‘Handmade’ featuring some dreamy bars from Tamu.

Full crew, through and through – this one hits different!

Leeds art-rock group Mush (Dan Hyndman vocals / guitar, Phil Porter drums,
Nick Grant bass, Myles Kirk guitar) are set to return with album ‘Down Tools’
via Memphis Industries. The new record marks the prolific band’s third album
in as many years, following hype-building early singles ‘Alternative Facts’
and ‘Gig Economy’, 2020’s debut album ‘3D Routine’ and 2021’s acclaimed
‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw
them become “kindred spirits to Wand and King Gizzard & The Lizard
Wizard, two other bands prolifically honing their sound and approach,
steadily developing their voice.”
 On ‘Down Tools’, this voice grows again into a more brilliantly singular
sound. It sees Mush getting loose, moving away from the defined moods and
textures of ‘Lines Redacted’ with a musical openness, straddling genres
while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that
“there was a conscious decision to retreat further from an observational
approach” with vocals being ad-libbed lending the record a more abstract
feel. Hyndman continues: “this album is less dark than the previous one. The
Armageddon obsession has eased, or at least the symptoms have become
milder due to saturation. Musically there’s a lot more chill on the record -
there’s a few more mellow tracks out there and the most astute listener may
even be able to decipher some of the words, fingers crossed.”
 While grief and work balance form themes on the record, Hyndman’s
approach is largely made up of abstract, disconnected streams of
consciousness and lines liberally taken from books, paintings, films and
beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he
had with an HR department at a job in a David and Goliath style. The song
‘Group Of Death’, a phrase chillingly familiar to any football fan, is
emblematic of the turn towards softer, more considered sounds. Hyndman
says: “In my warped imagination it just sounds like a Paul McCartney song,
but it won’t to others. I initially had the idea of doing a World Cup song called
‘Group of Death’, but by the time it was written nothing beyond the title had
any relevance to football. Anyway, the next World Cup is in Qatar so fuck
that shit.”
 ‘Northern Safari’, meanwhile, is a song about the way the North of England
has been portrayed in the media and used as a mirror to reflect some of the
nastier elements of what’s going on in society, in particular vox pops around
Doncaster, portraying a particular narrative of the collapse of the red wall and
the disgruntled ex-miners.
 ‘Down Tools’ sees Mush idiosyncratically ping-pong from finger picked
looseners to noise-rock bangers to brilliantly entertaining effect, avoiding
post punk saturation with an easy style and wit.

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Der 23-jährige Londoner David Omoregie ist ein Ausnahmetalent. Unter dem Künstlernamen Dave legt
sich der britische Rapper in seinen Songs mit Premierminister:innen an, spricht über Rassismus, soziale Ungleichheit und das nicht universelle Erleben von Schwarzsein. Heute erscheint sein zweites Album ”We‘re
All Alone In This Together”, das laut der englischen GQ ”meist erwartete britische Rap-Nachfolgealbum
aller Zeiten”.
Das Cover zu ”We´re All Alone In This Together” ist eine Neuinterpretation von Claude Monets ”Impression, Soleil Levant”, ein Ölgemälde des französischen Malers aus dem Jahr 1872, das sich als namensgebend
für die Bewegung des Impressionismus herausstellen sollte. Auf den Albumtitel ”We´re All Alone In This
Together” brachte ihn der deutsche Filmkomponist Hans Zimmer während eines gemeinsamen Videochats.
Beide steuerten im letzten Jahr die Musik für eine Episode von Sir David Attenboroughs ”Planet Earth”
bei. Natürlich bezieht sich der Titel auch auf die vergangenen anderthalb Jahre während der Pandemie.
Musikalisch ist ”We´re All Alone In This Together” abwechslungsreich in Tempo und Inhalt, so rappt
Dave beschwingt mit Stormzy auf der ersten Single Auskoppelung ”Clash” über Konsum und was dieser
mit einem anstellt, holt sich für seinen nächsten Sommer Hit WizKid ins Boot. Weitere Features wie James
Blake, Boj & Snool Aalegra dürften auch nicht enttäuschen.
”We´re All Alone In This Together” könnte das wichtigste britische Musikalbum des Jahres werden.

Der 23-jährige Londoner David Omoregie ist ein Ausnahmetalent. Unter dem Künstlernamen Dave legt
sich der britische Rapper in seinen Songs mit Premierminister:innen an, spricht über Rassismus, soziale Ungleichheit und das nicht universelle Erleben von Schwarzsein. Heute erscheint sein zweites Album ”We‘re
All Alone In This Together”, das laut der englischen GQ ”meist erwartete britische Rap-Nachfolgealbum
aller Zeiten”.
Das Cover zu ”We´re All Alone In This Together” ist eine Neuinterpretation von Claude Monets ”Impression, Soleil Levant”, ein Ölgemälde des französischen Malers aus dem Jahr 1872, das sich als namensgebend
für die Bewegung des Impressionismus herausstellen sollte. Auf den Albumtitel ”We´re All Alone In This
Together” brachte ihn der deutsche Filmkomponist Hans Zimmer während eines gemeinsamen Videochats.
Beide steuerten im letzten Jahr die Musik für eine Episode von Sir David Attenboroughs ”Planet Earth”
bei. Natürlich bezieht sich der Titel auch auf die vergangenen anderthalb Jahre während der Pandemie.
Musikalisch ist ”We´re All Alone In This Together” abwechslungsreich in Tempo und Inhalt, so rappt
Dave beschwingt mit Stormzy auf der ersten Single Auskoppelung ”Clash” über Konsum und was dieser
mit einem anstellt, holt sich für seinen nächsten Sommer Hit WizKid ins Boot. Weitere Features wie James
Blake, Boj & Snool Aalegra dürften auch nicht enttäuschen.
”We´re All Alone In This Together” könnte das wichtigste britische Musikalbum des Jahres werden.

Eddie C descends out of the clouds with a real fun EP to mark the 16th release from Lips & Rhythm Records.

The Canadian producer and edit wizard was last seen at the helm of his seaplane en route to the island of Madeira for surfing and sunshine.
Before he took off he left us some heat we are ready to share with you all.

The title track 'Infinite Wait' is a smooth & rolling mid-tempo flute-laced groove, while EverybodyEverybodyEverybody is a thick and chugging "acid-lite" cut that's going to thump across dance floors.

With the runway cleared for landing the 'wait' is finally over for this party record.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

The austrian musician and Live-Act / DJ Lukas Poellauer has been establishing a distinct production style with recent releases and remixes on Luv Shack Records, Fine Coincidence, Fortunea Records and Schönbrunner Perlen, melting classic house with airy, catchy melodies and mature songwriting.

“I Don’t Care” is the name of his first single for an upcoming release on Luv Shack Records and features the austrian funk Band Mary Jane´s Soundgarden and the piano player Valentin Zopp. The vastly featured musical talent of the Band makes the track oscillate between tight, club ready production and earthy, live-jazz café vibes, with the hazy voice of singer Tanja Peinsipp at its core.

For his second track Lukas Poellauer teams up with legendary singer Hubert Tubbs of "Tower of Power" fame. Tubb´s remarkable vocal timbre perfectly contrasts the light footed instrumental, as he sings about "When A Groove Is In Control". The actual groove itself is reduced and rather laid back, but Lukas Poellauer manages to bring in both dramatic and quirky overtones with a plethora of mallet, brass and string melodies.

On the flip, Patrick Pulsinger & Sam Irl deliver a fabulous dub rendition of “I Don’t Care” with a mad wobble bassline and classic reggae stabs, sitting comfortably between Grace Jones’ electronic tango and the hazy studio wizardry of dub emperor Lee Perry.

Luv Shack´s very own Space Echo put their spin on “When A Groove Is In Control”, opting for a cold and eerie vibe with the help of digital bell pads and a tight, stripped down four to the floor groove.

Rounding off the package, we have the Pulsinger & Irl Dub Instrumental which really makes the fantastic arrangement and mix shine even more.

10” Mini LP featuring outtakes and re-recorded B-sides from the 'Back In Mono' sessions!!! Back in Mono, The Courettes´ third album, was critically acclaimed worldwide and made it onto numerous best -of -the-year lists in 2021. If, like us, you can’t get enough of Back in Mono, here's some good news! Back in Mono - B-sides & Outtakes is coming out at the end of May, just in time for the band's UK tour! Bringing some more “spit ´n´ snarl garage-meets-Phil Spector pop” (Mojo) in three brand new unreleased tracks.Look forward to hearing the three new smash tunes 'Daydream', 'Tough Like That' and 'Talking About My Baby', all wrapped in a new mix by Wall of Sound aficionado Seiki Sato (Japan) and produced by the hit wizards Søren Christensen & C.T. Levine.Also included are the three non-album B-sides from the band's most recent singles. These B-sides have been newly spruced up with extra instrumentation. Making up the eight tracks is the inclusion of a Courettes rarity - 'So What' was previously only available on a split single with The Jackets released on Chaputa Records back in January.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but who had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque, Lincoln Olivetti or José Roberto Bertrami (Azymuth).

We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H, one of the finest pieces of Brazilian music released outside of Brazil. The album was recorded in 1981 in Uruguay, where Maria had settled with her then husband synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. Bahia com H combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, provided by the all-star line-up of Uruguayan musicians who joined in for the recording.

First vinyl reissue, preserving the original artwork in its gatefold sleeve, fully licensed and with sound sourced from the original analogue tapes.

Additionally we include a 12-page booklet with photos from Maria’s private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo de Souteiro.

Clear Vinyl

One of the most sought-after italo-disco release, the combined effort of Giovanotti Mondani Meccanici and Alexander Robotnick saw the light of the day in 1986 on Fuzz Dance, Materiali Sonori sub-label ran by the wizard Giampiero Bigazzi. Florence born producer and musician Maurizio Dami, created a mysterious character, a so-called “modular structure born out of a soviet calculator and promptly runaway”. His classic “Problemes D’amour” was featured on the influential Strut compilation Disco Not Disco 2. GMM was an even more enigmatic character, one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami itself was responsible for the group’s music output, while the unit was founded in 1984 by Antonio Glessi and Andrea Zingoni as an art collective whose production represents the quintessential expression of postmodern transmedia hybridity.

It started, as it so often does, with two old friends hanging out.

John Shima and C P Smith were joking around one evening in their home city of Sheffield. At some point, Smith challenged Shima that, if the latter could produce a record using nothing more than a small modular synth setup, then Smith would release it on his Central Processing Unit label. As heads will know, while Shima has drops on imprints like FireScope and Subwax Excursions to his name, he had never previously released anything via CPU. Shima accepted, and thus we now have his CPU debut, the four-track EP CPU Modular 1.

The specific setup that Shima worked with for these tracks was Smith's Doepfer A-100P6 Suitcase, a small but mighty combination of modules and programmers. It's no surprise that Shima was able to familiarise himself with the equipment in double-quick time - after all, Shima was an early adopter of the Eurorack modular format back in the day. What emerged from the CPU Modular 1 sessions was a quartet of devastatingly effective DJ tools, mid-set rollers which will get the dance moving something crazy.

Opener '003' kicks the EP off as it means to go on. There's something at once stiff-necked and buoyant about the rhythms here, all thwacking Roland tones and snares which crack like someone whipping a length of sheet metal. While the beat barrels unyieldingly onwards, the programming in the tuned modulars is more exploratory and even trippy, full of delay-laced bleeps and flighty rhythmic motifs. It comes together for a cracking mix in the vein of artists like Jerome Hill and London Modular Alliance. Second A-side cut '010' is no different, the street-beat groove and grumbling low-ends underpinning all manner of modular wizardry.

CPU Modular 1 is really timeless stuff, a set of percussion-heavy, future-focussed beats which recalls Smith's own CPU drop 'DJ Tools Vol.1 - 808 Tracks'. '011' kicks of CPU Modular 1's second-half with a dose of Drexciyan dystopia, playing an atonal loop off of an insistent bass wiggle and neurotic hi-hats. Even when Shima tightens or slackens the modulars here, '011' remains unyielding, a dose of pure 'Wip3out' energy that you could happily groove to all day long. The EP closes out with '005', a gnarled, gurgling production which still retains the dancefloor punch of the rest of the record.

For his Central Processing Unit debut, John Shima was tasked to produce four tracks using a single small modular setup. Unsurprisingly given the pedigree of this seasoned machine-funk pro, Shima aced the assignment.

Awe Kid explores ideas of trans-humanism, evolution and digital immortality on Body Logic, a fantastically lush new album for Atomnation. The immersive 10 track record plays with organic, breathing textures punctuated by moments of digital unrealness to result in an album permeated with a dream-like quality. This contrast is mirrored by the artwork from Portugal's acclaimed The Royal Studio.

Awe Kid is an alias of Sine Language Records co-founder Rick Parsons. It is the product of years spent exploring a multitude of different music. From early days in post-hardcore groups and on to a love of 90s Warp, electronic jazz and more experimental niches, the multi-instrumentalist has now settled on his own unique fusion of breaks, ambient and left-field dance music. This deft studio wizard mixes up melodic nostalgia with forward-thinking sound design using whatever he can get his hands on, from analog and modular hardware, to samplers, field recordings to digital techniques.

Says Parsons, “I love working with digital processes because you get these unexpected moments where you dial something in, that somehow takes on a tangible, organic form in the real world. Searching for these sweet spots was the motivation for the album, contrasting natural textures against synthetic elements, and finding ways to create something that feels like it exists outside of the computer.”

While the album pays homage to dance music traditions, such as the broken beat of title track 'Body Logic', and full-throttle breaks of 'Zenith', these are assimilated and repurposed to create something that defies genre categorization. The listener's journey is perfectly paced, with broody but uplifting cuts of electronica giving way to shimmering, celestial melodies, and dusty breakbeats emerging from dense layers of atmosphere, only for the mood to be reset with soothing, suspenseful synths and haunting vocal samples. Elsewhere, devastatingly emotional ambient is followed by punchy grooves and propulsive melodies to make for a real ride.

New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre.

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

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

Various Artists - Sixties Collected features Love “Alone Again Or”, Cher “Bang Bang (My Baby Shot Me Down)”, The Who “Pinball Wizard”, Diana Ross & The Supremes “Love Child”, Steppenwolf “Magic Carpet Ride”, The Animals “House Of The Rising Sun”, The Beach Boys “Good Vibrations”, David Bowie “Love You Till Tuesday”, Bob Dylan “Subterranean Homesick Blues”, Tom Jones “It’s Not Unusual”, Nina Simone “I Put A Spell On You”, Rod Stewart “Handbags & Gladrags” a.o.

Various Artists - Sixties Collected is available on black vinyl and includes an insert.

At Now-Again, we avoid hyperbole, yet we believe that this album is one of record collecting’s ultimate
finds: the missing entry in jazz pianist/composer/psychiatrist Denny Zeitlin’s discography, a wonderful
and weird fusion of avant-classical, jazz, funk, rock and electronic music.
The Name Of This Terrain was recorded and pressed in a scant, custom run as a demo in 1969 –and it
so defied its own existence that, even after its producer died and his copies were discovered, Zeitlin
steadfastly resisted its release for almost 20 years, destroying his remaining demos so no...

Anfisa Letyago has established herself as one of techno's key players. An intrepid selector with a positive attitude, and an infectious smile, the Napoli based starlet has been making seismic waves within the industry for several years. Her own imprint - N:S:DA has been a home for her own dark-brooding style of techno, but it welcomes a brand new project to kick off 2022, with the first of 3 remix packs featuring a host of very special artists and artwork designed exclusively by Sergio Fermariello.

DJ Rush, a master of hard techno and wicked percussive elements, he's committed himself to the art of rhythm and drums. A Chi-town hero whose music transcends continental boundaries now takes his hand to "Rising Sun". Staunch and unrelenting, the barrage of bass drums keeps momentum at a hauntingly steady pace through the entirety of the track. A true drum-machine wizard who said "It was a pleasure to put my stamp on Anfisa's release. I felt her vibe and wanted to keep the traditional feel to the song but give it that Rush bump".

Adiel has graced the stages of some of the industry's most accredited venues, Panorama Bar, Dekmantel, DC10 and Concrete. She continues to bring her unique take on techno and doesn't disappoint with her kaleidoscopic iteration of "Orizzonte". Renowned for her ability to manipulate crowds with her mind-bending DJ sets and mosaic-like track selection, Adiel twists the original mix into a living techno organism of sorts, evolving and shifting through a deep palette of atmospheric sounds and vocal cuts. "It was a lot of fun to remix 'Orizzonte', it's maybe one of my best remixes and I am really happy about it" - adds Adiel.

Boston 168 leads us deep into an acid laboratory for this reinterpretation of "Gravity", masters of sound design and reformation of classic drum machines like the Roland 909, 808 and 707, the psychedelic and twisting nature of this Italian duo's tracks is unmatched. Currently residing in one of techno's capital party cities - Tbilisi, the pair hold down a residency at the legendary Khidi. "Gravity is the track that inspired us the most with its deep vocal, so we merged this with our cosmic sound" add the duo.

Very few producers have rode the pinnacles of techno as it unfolds through the decades, Chris Liebing is one such figurehead. Revered for his energetic, seize-the-moment style of DJing and music production Liebing is forever finding new ways to innovate within the booth. "Remixing 'Not There' was a huge pleasure, and the production process was very organic. I tried to take it in a little less melodic direction by just hinting it in the break". Says Chris Liebing.

This Germanic trailblazer continues to ignite dancefloors internationally between running his label CLR and juggling family life. Liebing steps up to the plate with his own take on "Not There" to conclude the pack. Instantly drawing your attention with his trademark grit laden kick drums and sweeping dubbed-out vocal shots, along with a hypnotic and body-jolting start to a literal Pandora's box of remix material.

"Someone like Anfisa, with such a high spirit and a smile that lights up any room deserves to have that same representation to her music. Good music will always put a smile on your face" adds DJ Rush.

Storming into 2022 with a flurry of high-octane remixed from a stellar array of artists, Anfisa Letyago continues to solidify her position as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, she's been making seismic waves within the industry for a few years. Letyago launched her own imprint - N:S:DA last year, originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first two remix EP's.

Kompakt head-honcho and German techno extraordinaire Michael Mayer opens up the floodgates of this remix project with an alluring interpretation of "Nisida". Decades of industry experience have finely tuned Mayer's taste making to an impeccable standard, his extensive knowledge of dancefloors and deep cuts serves as an excellent explanation for his undeniable ability in the studio. Ethereal vocal snapshots from the original mix are weaved intricately amongst the machine-orchestra of arpeggiated synths and stalwart drum loops. "My aim for this remix was to crystallize this yearning sentiment in Anfisa's whispers by adding more warmth and drama to the track" adds Michael.

The Italian-born, multi-faceted DJ Tennis steps into the arena with his unique take on the original mix of "Nisida". Elegant pads flourish through the mix, carrying listeners weightlessly into warping basslines and razor-sharp drum work. The droning synths seem to induce hypnosis, circling and swaying around the driving kick and scattered hi-hats. A production powerhouse since the early nineties, DJ Tennis continues to juggle event promotion, running a label and booking agency. A hugely talented all-rounder.

1979 draws the EP to a close with a swirling techno edit of "Orizzonte", tastefully minimal and precisely crafted with compelling sound design from the analog synth wizard. Classically trained with a deep penchant for attending illegal raves in his youth, 1979 has been making waves with a flurry of breakout hits in recent years. The arrangement climbs through cycles of high-pitched tones and rolling mid-range bass, taking listeners on a sonic journey steeped in warmth with classic drum machine hits. "'Orizzonte' caught me in many ways, and I decided to use the beautiful space-arpeggios and the shoegaze pads made by Anfisa to create my own version of the track" he adds. The perfect track for highway driving and rocking dancefloors.

Wonderful, originally released in 1999 was the first studio album featuring the original Madness line-up since 1984’s Keep Moving.

Being released for the first time on vinyl (180gram heavyweight) the album includes the singles ‘Lovestruck’ and ‘Johnny The Horse’, as well as the fan favourite ‘Drip Fed Fred’, which features Ian Dury not long before he passed away.

This package includes exclusive liner notes by journalist Stevie Chick (MOJO, The Guardian & NME) including interviews with Lee ‘Kix’ Thompson, Chrissyboy Foreman and Mark Bedford, as well as an exclusive poem by Cathal Smyth (‘Chas Smash’).

After a 7 year hiatus Myor are finally back with the fourth instalment of their Tropical Heat series. The formula: 6 tracks by 6 different producers, spanning a wide array of styles and genres.

Motëm and Light Club both provide the half tempo vibes, harking back to the label's skweee and hip hop roots.

Breda native Muxi gets dusty and wobbly on a PO-33 tip with his off-kilter shuffler Strung, whereas Alex Lay-Far lays down some serious mid tempo breakbeat heat, giving praise to early 90s hardcore and golden era trip hop alike.

Finally, new school jungle wizard Sempra and label head honcho Coco Bryce come correct with some 160 cuteness on Touch and Closer respectively.

Italy’s up and coming power rock trio Cripta Blue were
formed in 2019 by members of bands like Desert
Wizard, Rising Dark and Talismanstone.

 Being no strangers to the heavy music scene, the trio
skilfully play an enthralling and vibrant blend of dark
though funky and fuzzy psych rock, jamming heavy
power blues and a remarkable primordial sound of
NWOBHM doom.

 Cripta Blues‘ debut full-album has the psychedelic
mood you can’t help but to dive into, with gloomy lyrics
and the hint of a cult horror classic. The baritone
vocals of frontman and bassist Andrea Giuliani are
shrouded by acid and fuzz rock soundscapes, full of
power blues and with the soul of doom.
 Andrea Giuliani says: “Our dark creature is finally
alive. Our personal blend of doom and psych rock
looks back on the past. On the exciting wild end 60’s
and the dark early 70’s with their proto type of heavy
rock and doom metal. We use no occult lyrics, but
instead distorted and horrible metaphors of what it
means to taste life and to live it sinking deep,
surrounded by the living dead.”

 ‘Tombstone’ features Witchwood-vocalist Ricky Dal
Pane.

 For fans of Blue Cheer, Witchfinder General, Budgie,
Cream, The Stooges, Saint Vitus, Black Sabbath,
MC5, Iron Claw, Motorhead, Vanilla Fudge, May Blitz,
Mountain, Pentagram, The Obsessed.

 LP pressed on red vinyl

From the Dicker that keeps on digging

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

KGLW made the colloquially-dubbed 'Timeland' furtively and in semi-secrecy around the time of their 2019 Red Rocks show, and intended it for use as an intermission piece for said three-hour marathon set. Made up of a thoroughly different palette of inspirations to their usual speedy psych-rock, the LP operates in strange surrealist dance music and instrumental beats, oddly peppered by Gizzard's classic nasal vocal twirls and hooks. Guitar rarely features. Now, this weirdo's oddball remains shrouded behind secrecy and conspiracy theories, and as such, will not feature on any DSPs. So get on it while you can, because this cream coloured vinyl version won't be around much longer before the heads snaffle it up. Just in case you vomit at its glory, it comes in and with a brown paper bag.

In 2015 Tanz Mein Herz welcome a new arrival among its ever-evolving roster of musicians, the self-taught hurdy-gurdy wizard Alexis Degrenier.
With a tour already in the works, the musicians settle on a set consisting of old material (Magical Stones and Shiny Mud) as well as new themes such as Spiegel Haus, both built around the new instrumentation.
The selection presented on Dosses is taken from the very first rehearsals around these themes, as the musicians strive and wander about freely in search of new musical vistas and promising friendship. With Ernest Bergez, Pierre Bujeau, Alexis Degrenier, Pierre-Vincent Fortunier, Guilhem Lacroux, Jeremie Sauvage and Mathieu Tilly.
credits

After 3 albums based purely on synthesizers, the danish duo take a leap by adding live drums & guitars to their latest album. A natural step, considering that Jakob Skott, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural 70's groove, maintaining a spontaneous vibe that also soaks into the analogue synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited & layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones extensive cinematic undercurrent of sounds. With the addition of echo & reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the italian post-apocalyptic movies of the 80's, doomsday never felt this heady and funky before.

Deliciously seasoned with a more than a little kick! Following up his 2020 debut, TYPE returns to SweetBox with two fiery jungle cuts built on his Akai MPC X.

Known as the MPC Jedi, TYPE is the tech wiz behind the Tubedigga YouTube channel, where he serves up music production and sound design tutorials from his hoard of MPCs and other vintage and modern tech. As a hardware devotee, he performs live on MPC rather than DJing, and it was during one of these live sets, for the launch of his previous SweetBox EP in 2020, that Dexta and the Diffrent crew first heard ‘Cherry Bomb’ and ‘Eclipse’ and immediately snapped them up.

‘Cherry Bomb’ is a quintessential junglist workout, pushing a combination of four sampled and homemade breaks to their limits over an otherworldly sound bed. With kicks that land like a mortar strike and the explosive militancy of a supercharged drill sergeant, this one’s ideal for peak-time switch-ups and ready to send any dancefloor into a frenzy.

‘Eclipse’ shuffles and steps with the South London producer’s signature precision, though the percussion takes something of a backseat this time. Front and centre instead are an array of monstrous technoid rasps, elasticated subs and an LFO-esque, earworm bleep repurposed from TYPE’s days as a video game sound designer. This is heavyweight business screaming out for a dark room and a big rig.

Black Stone Cherry is the debut album by the American rock band Black Stone Cherry. Originally released in 2006, the self-titled album contained three singles - “Lonely Train”, “Hell And High Water” and “Rain Wizard”. Ever since the founding of the band back in 2001, the band has been receiving nothing but positive critics. Their powerful sound can be described as traditional southern rock combined with the likes of Led Zeppelin and Soundgarden.

After the incredible success of Polygondwanaland in 2017, we want to give everyone a chance to get their lucky hands on these King Gizzard albums, so let’s make it real together one more time! MAKE IT VINYL!

LeSale is back with the Synchronized EP, which marks his fifth solo EP on Luv Shack Records.

The title track is LeSale´s first foray into boogie-funk, featuring lyrics and vocals by Kathy Diamond, one of the great voices of the early nu-disco era and former singer of the duo KDMS, as well as tape mixing by vienna based studio wizard Sam Irl. "Synchronized" comes in 4 versions; the classic vocal mix featuring the full vocals by Kathy Diamond, the instrumental mix which is stripped of the vocals entirely, the extended dub mix, featuring arrangement and additional overdubs by Sam Irl, concentrating on the bare,funky essence of the track and finally a special remix by Ooft!.

The Ooft! remix lays a club foundation for "Synchronized", taking it to proto house territory with a sparse use of original vocals and additional drums, synth leads and pads.

As a bonus original track, we get "Superfluid", an upbeat elektro-funk journey with the right amount of

First vinyl pressing is Limited to 1500 copies in 2 Colour variants. Transparent Aquamarine and green twisted stripe and transparent blue and cherry twisted stripe vinyl (Indies Only). Gatefold sleeve. Full download included as well. CD package is a 4 panel digipack, with a 4 page booklet. New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre. MWWB are Jessica Ball, vocals and synths. Paul Michael Davies, guitar and synths. Stuart Sinclair, bass and Dom McCready, drums.

First vinyl pressing is Limited to 1500 copies in 2 Colour variants. Transparent Aquamarine and green twisted stripe and transparent blue and cherry twisted stripe vinyl (Indies Only). Gatefold sleeve. Full download included as well. CD package is a 4 panel digipack, with a 4 page booklet. New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre. MWWB are Jessica Ball, vocals and synths. Paul Michael Davies, guitar and synths. Stuart Sinclair, bass and Dom McCready, drums.

"The follow up to Self Esteem’s acclaimed 2019 debut album Compliments Please, Prioritise Pleasure is a record that reminds us all of the importance of being our unapologetic selves, putting your insecurities out there in the hope that it can be the first step towards healing them. Honest disclosure has always been Self Esteem’s forte, and so each track on Prioritise Pleasure handles difficult themes with nuanced perspective, comforted and counter-balanced with an array of rhythmic flourishes that speak to the eclecticism of her experience and influence. Self Esteem has moved on considerably since that her acclaimed debut. With NME DIY and Source magazine front covers, 6 Music A list's andTune of the week on Radio 1 with both Annie Mac and Greg James, things are really moving now. TV appearances include Channel 4 - Sunday Brunch - live performance, interview & show guest
19.10.21: TX Sky - Never Mind The Buzzcocks – guest panellist 21.10.21: TX – BBC 1 - Match of the Day – guest and performance. The album is released on a CD Mintpack, Black LP."

Les Disques du Crepuscule presents a new double vinyl remaster of two seminal albums by German synth wave pioneers Gina X Performance, whose groundbreaking singles Nice Mover, No G.D.M. and Kaddish remain enduring electroclash staples after four decades of club supremacy.

Remastered for vinyl in 2021 by Zeus B. Held and Lars Lafeyette Fassbender, the double album set is housed in a gatefold sleeve with new artwork and pressed on clear and green vinyl + digital copy. This pressing is limited to 1000 copies only worldwide. The inner sleeve features a brand new interview with Zeus.


Formed in Cologne in 1978, the core of Gina X Performance composed vocalist Gina Kikoine and producer/keyboard/vocoder wizard Zeus B. Held. ‘I had in mind science fiction-inspired tracks,’ explains Zeus.‘Really cold sounding music, with no blues-ey chords or melodies, no guitar and nothing rocky.’

Originally issued on German imprint Crystal 1979, icy, noirish debut album Nice Mover spawned two radical Eurodisco hits, with gender-bending single No G.D.M. becoming a firm favourite at the legendary Blitz Club in London’s Soho. At the same time Zeus B. Held also became an in-demandproducer, working with John Foxx, Fashion, Rockets and Dead or Alive.

The third GXP long player, Voyeur, from 1981, followed a brief spell on EMI and saw the duo return to their experimental, avant-gardist roots, the material by turns seductive, provocative and confrontational. Since then countless electronic artists have acknowledged or betrayed the influence of Gina X Performance, including Depeche Mode, Propaganda, Ladytron and Peaches.
Critical praise for Gina X Performance: “Pioneering electro-pop from 1979 with hints of Kraftwerk, Nico and Studio 54-era Grace Jones” (Mojo); “Like an artier Moroder” (Uncut); “No G.D.M. is one of the most influential songs to come out of the Continent” (Q); “Disco for the intellect” (NME)

What started as a duo in 2017, merging a core of
sludge, stoner and audio effects, soon became a
trio, adding a third member to accomplish their
enthralling fusion of monolithic sounds with a
visual concept.
 Both musical and philosophical, Italian band
Pachiderma add a special and unique touch to the
heavy music world, while combining various movie
samples and vibrant effects, inspired by the dark
myths and reality of humanity yet driven by the
soul of heavy stoner rock and sludge metal.
 Pachiderma’s ‘Il Diavolo, La Peste, La Morte’ is a
concept album, divided in four acts, and was
inspired by the philosophy previously issued in
Bergman’s filmography. The album was recorded
in a ‘one shot’ weekend session by Andrea Lenoci
at Molotov Recordings.
 For fans of Bongripper, Electric Wizard, Sleep,
Weedeater, Dopethrone, Bongzilla, Acid King.
 LP pressed on yellow vinyl.

Dutch SP1200 wizard Kid Sundance delivers pure heat to the Ilian Beat Series.

The Neptune Power Federation brings back the love song and rocks as furiously as ever on their fifth studio album, Le Demon De L’Amour! The Imperial Princess and her crew of Aussie rockers lord over eight love songs that prove few can push the boundaries of rock and metal like The Neptune Power Federation! Heading into the creation of their fifth studio album, Le Demon De L’Amour, Australian psychedelic rock and roll brigade The Neptune Power Federation couldn’t let go of the fact that love songs had been commandeered, in their words, by “soft rockers, bedwetters and the introvert crowd.” Whereas rock had its glory period during the 1970s and 80s, the art of the love song is now lost within heavier music. Few bands are now willing to venture into such territory — metal and rock have settled comfortably into typical, predictable lyrical tropes that fail to pull at the heartstrings the way they used to. On Le Demon De L’Amour, The Neptune Power Federation reclaims the art of the love song as their own. Off the heels of their acclaimed 2019 Memoirs of a Rat Queen studio album, the members of The Neptune Power Federation utilized the unexpected downtime afforded from the 2020 COVID-19 pandemic to craft an album that takes more chances than its predecessor. While the band’s trademark rock swagger and prog tendencies still come into play, Le Demon ups the voltage and energy. True, there is a multitude of genre-blurring taking place, but the album’s infectious choruses and leaden riffs easily re-imagine metal and rock’s glory eras without blatant thievery.

Of course, all roads to The Neptune Power Federation run through lead vocalist Screamin’ Loz Sutch and her stage persona, “The Imperial Priestess.” Le Demon’s eight cuts find the indomitable frontwoman in top form, belting out tales of love from a female’s perspective, weaving in stories of cult worship, murder and hypnotism. The album’s artwork (created by guitarist Inverted CruciFox) also introduces her new nemesis — The Wizzard Princess. Recorded at bass player JayTanic Ritual’s The Ped Food Factory in Marrickville, Sydney, with mixing duties provided by Clem Bennett, Le Demon De L’Amour leads The Neptune Power Federation into their tenth anniversary next year. Their journey has taken them from the sweaty clubs of Sydney to a global audience. Now armed with eight love songs sure to melt and captivate the most hardened metal hearts, The Neptune Power Federation boldly goes where few bands dare to go.



"Maybe their best album so far!" - Deaf Forever (DE), 8.5/10, Soundcheck pos. 7 !!

"They can even top the phenomenal predecessor!" - Metal Hammer (DE), 5.5/7

"'Le Demon De'L'Amour' is definitely their most mature and complete album to date!"

"Finest party rock music of the most beautiful kind!" -(DE), 9/10

"An album full of thick, good riffs, solos, melodies and choruses that stick in mind - definitely recommended!" - Rockmuzine (NL), 85/100

"They are in impressive form!" - Saitenkult (DE), 8.5/10

"The Neptune Power Federation add a great piece of music to their list of achievements." - Heavy Music Blog (DE), 8/10

"The band rocks a bit straighter and more pleasing than before through their love song concept." - Rock Hard (DE), 8/10, Soundcheck pos. 6 / Dynamit !!