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Rarely could a project be called such a culmination point of a career as what Kris Defoort presents with Pieces of Peace. Just about all the backgrounds, influences and acquaintances the iconic Belgian composer and improvising pianist collected throughout his long career come together in this distinct and original musical adventure.

Together with vocal artist Veronika Harcsa and three fellow musicians, he forms a chamber orchestra in the strict sense of the word, although they are by no means restricted to that one idiom. As an experienced opera and classical composer, Kris Defoort dribbles the timbres, harmonies, dynamics and, if you like, drama of a complete (opera) orchestra through these compositions, supplemented by an inescapable layer of jazz, obviously the other form of music that remains continuously prominent in Kris' life and DNA.

As always in his work, also improvisation is added as a core element, not least thanks to the voice and inventive personality of Hungarian vocalist Veronika Harcsa, a true European reference in this field. This duo has worked together regularly over the past decade, including for Diving Poet Society (2017, W.E.R.F.148) and in DUET: pure vocal and piano improvisations, on poems by Theodor Roethke, Peter Verhelst and William Blake.

Those musical ideas formed the framework when composing the final new song cycle Pieces of Peace. The duet was then quickly expanded into a quintet, with Lode Vercampt on cello, Jean-Philippe Poncin on clarinets and Benjamin Sauzereau on electric guitar. These three musicians are as well compagnons de route of Kris has since many years, allowing him to incorporate each one's own playing style in a special way throughout these compositions: therefore, the entire orchestral spectrum (woodwinds, strings, percussion) is thus prominently represented through these five instruments.

Intimate and joyful, playful and complex, lyrical and rhythmic, ... and layered and full of detail, each track on the eponymous record unfolds like a story in itself. They are all states of emotions, impressions from real life - another reference to opera. They are also an ode to the voice, the human instrument par excellence. As improvised compositions (or composed improvisations?), Pieces of Peace represents a constant evolution that offers hope, softness and inspiration in times when all this sometimes dares to be lacking.

Eine der dienstältesten, deutschen Oi-Punk Bands feiert ihr Jubiläum mit einem brandneuem Album… eigentlich haben sie es knapp verpasst: 41 Jahre HERBÄRDS, da darf man sich zurecht als "Alte Strassenköter" bezeichnen. 1982 gegründet, veröffentlichen die Stuttgarter mit "Eu se Bois" ihr Debutalbum, was zurecht bis heute als ungehobeltes, rotzfreches Kultalbum gilt. Das Nachfolgewerk "Wakos" bekam vom Label das Branding "German Oi Attacke" und nach einem schwerem Motorradunfall von Sänger "TEK" löste sich die Band auf, um kurz vor der Jahrtausendwende mit dem dritten Album "Wir sind zurück" reanimiert zu werden. 2017 dann ein neues Kapitel mit der Buchpräsentation und Ausstellung "Wie der Punk nach Stuttgart kam" und ein neues Lebenszeichen mit der Mini-LP "Oi! Oi! Oi!". Musikalisch "Back to the roots", begleitet von vielen Konzert- und Festivalauftritten, schrieben die Herbärds dann die neue offizielle Hymne des Eishockey-Teams "Stuttgart Rebels". "Alte Strassenköter" vereint alles, was diese Band ausmacht: Oi!-Punk der alten Schule, Texte direkt aus dem Bauch, der Szene und dem bewegten Leben…von Parole Spaß ohne Zeigefinger ("Rebels" / "Fußball Liebe") …mal fast als Selbsttherapie verpackte Hymnen wie ("Punk ist meine Therapie" / "Krüppel") …bis hin zu eindeutigem Klartext: ("Fass mich nicht an" / "Verraten und verkauft") . Und mit dem Offbeat versetztem Partyhit "Alte Männer tanzen nicht" beweisen sie genau das Gegenteil. Die HERBÄRDS sind sich selbst über die Jahrzehnte und ihren Fans gegenüber treu geblieben, ohne auf Trends oder den großen Markt zu schielen. Wenn Du eine der authentischsten, deutschen Oi!-Punk-Bands mit Rückgrat und klarer Kante hören willst und dabei auch noch jede Menge großartiger Szenehymnen, dann ist das ein klarer Anwärter für Deinen Plattenschrank.

PRESSED ON ORANGE COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 1000 COPIES

2023 is the year of Too $hort at Get On Down with our 4th reissue and album number 7 in the catalog of the Bay Area legend. Shorty The Pimp was released 31 years ago on July, 14, 1992 and has not been in print since we originally reissued it on wax in 2018. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. Shorty The Pimp is also a stand out project for producer Ant Banks who did many of the beats for the project, his first working with Too $hort with many more to follow over the next decade.

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

Prolific songwriter and guitar virtuoso David
Tattersall presents 11 new songs on themes of
memory, dreams, loneliness and love, featuring
nylon string guitar improvisations in the vein of
gypsy jazz legend Django Reinhardt.
 The David Tattersall Group are old friends who
rehearsed together for months in a small, smoky,
sweaty room, before recording the album on a
huge red boat moored on the River Thames, all
vintage microphones and wooden walls inside.
Friendship is a vital part of the record’s magic.
 Stylistic influences include Ronnie Lane, after
whom one song is named, and the nylon-string
guitar work of Jonathan Richman and Willie
Nelson. A pastoral mood prevails, with swells of
melancholic violin and Spaghetti Western
harmonica, backed by honky-tonk piano and the
dry drum sounds of Neil Young’s ‘Harvest’ period,
while the golden voice of Holly Holden adds a
touch of glamour to proceedings.
 David’s process includes much musical
improvisation and stream of consciousness writing,
but his end goal is to couple classic songwriting
with the collective chemistry of musicians playing
live in the studio. His lyrical influences include Tom
Verlaine, John Cooper Clarke and the New York
School of Poets, particularly James Schuyler.
 Pressed on 140g white vinyl with OBI strip.
 Includes digital download code

Following his acclaimed first album, French pianist
Dexter Goldberg is back, leading a completely
renewed trio, formed with two young French jazz
wizards, double bassist Clément Daldosso (known
for his stints with the Paris Jazz Sessions and
Giovanni Mirabassi New Quartet) and drummer
Raphaël Pannier (currently a sideman with Biréli
Lagrène and Thomas Enhco), who has just
returned from New York.
 Summoning the genuine spirit of childhood and the
pleasure of interplay, Goldberg puts his trio into
perspective, moving from homage to the great
masters - in particular, Ahmad Jamal, who
encouraged him just before passing - to the joyful
building of moving musical forms.
 Dazzling cover illustration by cartoonist Thomas
Baas.
 “Dexter affirms with just the right amount of
strength and delicacy his personality, that of an
authentic jazzman of the 21st century.” - Jazz
Magazine

Glasser, the elevated electronic project from Cameron
Mesirow, releases her anticipated third album, ‘crux’, via
One Little Independent Records.
 ‘crux’ takes Glasser’s entrancing blend of dreamy
experimental pop and layered electronics to explore
themes of personal identity, emotional vulnerability, and
the human experience. The album maps journeys of selfdiscovery as she unpacks intimate experiences with a
maturity and cathartic outlook. Specifically, the tracks on
‘crux’ discuss the death of an old friend, her meditations
on the fragility of life and the delicacy of relationships in
times of uncertainty.
 More than anything it’s about the importance of creativity
and writing while healing, and on an individual level,
looking inward and the examination of one’s grief, anxiety,
and insecurities. Musically it searches outward, it includes
the use of traditional folk, Celtic to communicate her
Scottish roots, and Eastern-European styles, all introduced
to her lush, atmospheric production, intricate vocal
harmonies, and complex rhythms.
 “Soaring vocals with free-flowing, rhythm-obsessed
eclecticism that make for a notably welcoming collection of
atmospheric, electronics-brushed pop” - Pitchfork
 “It’s Glasser’s sonic constructions which holds our interest
first and foremost; a bolder and more up-front sound” -
The Line of Best Fit
 “Potent, sexually charged and teeming with life. Make no
mistake, this isn’t sex as male-gaze-pandering titillation,
packaged in clichéd, chart-friendly couplets, but sex from a
singular female perspective: intimate, all-encompassing,
ecstatic. This is pop for consenting adults: music for awake
minds” - Dazed

Too Pure are excited to get Moonshake’s debut album, ‘Eva Luna’, back in
print, releasing a deluxe edition, re-mastered from analogue 1Ú2” tape, on
blue double vinyl.
 The reissue contains 19 tracks - the album’s original 10, the non-LP threesong single ‘Secondhand Clothes’, the two B-sides from the ‘Beautiful
Pigeon’ single and four tracks from a November 1992 John Peel session.
The release also includes an 8-page full-colour booklet.
 Moonshake were formed in 1991 by David Callahan (vocals, guitars,
samplers), formerly of The Wolfhounds, and New York musician Margaret
Fiedler (vocals, guitars, samplers). Callahan and Fiedler recorded a demo for
Creation Records, and were joined by John Frenett (bass) and Miguel
Morland (‘Mig’, drums) to record and release the ‘First EP’ for Creation in
1991.
 They took their name from a 1973 single by Can. Both Fiedler and Callahan
wrote songs, and they would (generally) sing on the songs that they wrote.
Their output of shared inspiration produced wildly different results - Can, PIL,
Kraftwerk, MBV and Erik B & Rakim were a melting pot that made
Moonshake somewhat uncategorizable, and as Margaret noted in an
interview, “Moonshake was a collision - it was supposed to be a collision.”
 Their debut album, ‘Eva Luna’, took its name from a novel by Chilean author
Isabel Allende, and the tracks on it are split evenly between the two
songwriters. Callahan’s songs are somewhat angry, dissonant, post-punk
affairs, while Fiedler’s are just as angular, but her quieter sometimes near
whispered vocals compliment her writing partner’s equally. Producer /
engineer Guy Fixsen, fresh from his work on My Bloody Valentine’s
‘Loveless’, was instrumental in making the album cohesive.
 This album has been critically revisited often since its original release, with
Tiny Mix Tapes describing their sound as “an updated take on Can and
Public Image Limited’s rhythmic propulsion with noisier guitar work and a
predilection for sampling influenced by The Young Gods.” Last year, in a
wonderfully long piece to celebrate the album’s 30th anniversary, Louder
Than War wrote that they were blown away by the album’s “utterly
spellbinding, dizzyingly genre-defying approach at articulating explicitly the
sound of a city in the throes of urban psychosis and derangement... ‘Eva
Luna’ really is one hell of a ground-breaking record, and it stands resolutely
alone among all of the albums released in 1992 as no other band has
managed to create anything remotely similar before or since. It really is a
unique album with few equals.”
 In 1993, the original incarnation of the band split up, and Margaret Fiedler
and John Frenett went on to form Laika with Guy Fixsen. Callahan and
Morland continued on with guest musicians, with Callahan ultimately
remaining the band’s sole original member. Moonshake ended in 1997 but
their legacy is indisputable.

Das neue Meisterwerk des sibirischen Dark-Folk-Duos NYTT LAND entführt Fans von HEILUNG & WARDRUNA in eine spirituelle, kosmische Welt!

NYTT LAND, 2013 von dem schamanischen Paar Natasha ”Baba Yaga” und Anatoly Pakhalenko gegründet, zählt derzeit zu einem der fesselndsten und spannendsten Acts der Dark Folk Szene. Unter dem Titel Torem veröffentlicht das Duo aus Sibirien diesen Herbst, am 6. Oktober 2023, seinen neunten StudioEpos über Napalm Records. Torem entführt die Hörer in eine mystische Welt altertümlicher, perkussiver Instrumentierung und hypnotisierender Gesänge. Das Album lädt zu einem einzigartigen Klangerlebnis ein und ist der Beginn einer neuen Trilogie der Band, die im kosmologischen Sinne von den drei Welten ihres Landes erzählt. Auf Torem bedient sich das Duo der alten Sprachen Khanty (Sibirischer Eingeborenenstamm) und Old Norse (Altisländisch). Übersetzt bedeutet der Albumtitel ”Großer Himmel” – auf welchem die Vorfahren sitzen und in dem die Seelen von Menschen und Tieren in Form von Vögeln wiedergeboren werden.

Der einzigartige Sound von NYTT LAND ist vom Klang der sibirischen Natur inspiriert – die musikalischen Wurzeln der Band sind tief mit Mythologie, historischen Themen und alter schamanischer Kultur verbunden. Für Fans von HEILUNG, WARDRUNA, RUNAHILD und darüber hinaus ein absolutes Muss; NYTT LAND ist gekommen, um deinen Geist wiederzubeleben!

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

Die schwedische Band Samling wird im Herbst 2023 ihr viertes Album mit dem Titel "Autisten" auf dem Berliner Label Robotor Records der deutschen Rockband Kadavar veröffentlichen. Das Album verspricht eine Fülle abwechslungsreicher Tracks voller Melodien und Hooklines.
Samling ist die Idee des Singer-Songwriters Max Groundstroem, dessen Mix aus Pop, Rock und schwedischer Neo-Psychedelia ihnen einen Platz in der skandinavischen Musikszene eingebracht hat. Die Musik ist für ihre großartigen Hooklines, Melodien und Grooves bekannt und nutzt oft Humor, um Gefühle der Isolation und Entfremdung lyrisch auszudrücken.
Das neue Album "Autisten" wurde über einen Zeitraum von fünf Jahren produziert, was einen starken Einfluss auf den Gesamtklang und das Feeling der Platte hatte. Mit der Zeit kommen auch Veränderungen und neue Erfahrungen, die verwirrend sein können, wenn das Ziel ein klanglich und textlich konsistentes Album ist. Doch durch die Erkenntnis, dass die Songs ihre eigene Persönlichkeit haben werden, entstand ein Gefühl der Befreiung, das es Max ermöglichte, ein breiteres Spektrum an Songs und Genres kreativ zu erkunden.

- Ltd. Col. LP: (Colour In Colour Blue Transparent Vinyl)

Sechs lange Jahre mussten Fans auf ein neues Album der amerikanischen Metal-Band Prong warten. Die Gründe: die Pandemie mit all ihren Unsicherheiten und Verwerfungen, aber auch erfreuliche Ereignisse im Privatleben von Sänger und Gitarrist Tommy Victor.

Doch nun sind Prong zurück, und zwar mit einem wahren Paukenschlag: ‚State Of Emergency‘ ist das erhofft fesselnde Werk geworden, mit der gewohnt unbändigen Energie einer Gruppe, die bereits seit Mitte der Achtziger an vorderster Front agiert. Und mit einem Ideenreichtum, wie er typischer für diese Band kaum sein könnte: „Es ist ein echtes Prong-Album. Es ignoriert nicht nur jedes Genre, sondern auch das, was heutzutage da draußen vor sich geht“, umreißt Bandgründer Victor die stilistische Ausrichtung der elf Songs.

Über seinen künstlerischen Ansatz sagt er: „Ich mag alle Arten von Musik. Diese Platte passt dazu, da sie viele Facetten abdeckt.

Gleichzeitig ist ‚State Of Emergency‘ sehr gitarrenorientiert und ein gutes Beispiel für meinen Stil aus Punk, Metal, Post-Punk-Lärm, etwas Doom, Blues und Thrash, mit einem ziemlich geradlinigen Gesang. Insgesamt herrscht auf dem Album ein aggressives Ostküsten-Flair.“

Zudem gibt es im August und November große Europatourneen.

'Jackie McLean’s music weaved in and out of the avant-garde throughout the late-60s but the saxophonist maintained a decidedly post-bop edge on Demon’s Dance featuring trumpeter Woody Shaw, pianist LaMont Johnson, bassist Scott Holt, drummer Jack DeJohnette, and striking cover art by Mati Klarwein.This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Pops Smash: Better Never Than Late! Almighty Jahwell enters the 21st Century as Pops Smash : The Dynamite Alter Ego Of Raploitation! Born in the 60's, rhymed in the 70's and style from the 80s as a card founding member of the legendary Son Of Bazerk Crew, this cat is beyond ready for 2020. His debut album "Pops Gotta Brand Old Smash" emerges with a local bar and tavern jukebox style of CurbFunk and OG wit, put down on wax, cassettes, 8tracks and all that new jive, too. All fresh on The SpitSlam Record Label Group. Produced by C-Doc. Vinyl edition features an exclusive bonus remix.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

20 albums and 25 years into her recording career and only now does Thea Gilmore feel enough of herself to make the self-titled album that renews her vows to music - her first love. The album is released on 6th October. The album was entirely written, played and produced by Thea. Thea Gilmore is absolutely the record she wanted to make. In many ways the record she had to make. Sustained by the very public dissection of her personal life laid bare on her last full-length release, the stunningly intimate Afterlight, Thea's hard-earned reputation as one of the most distinctive, strident and bold singer songwriters of her generation propels her to reach for new ground and this new release feels like a great leap forward into tomorrow. "That's why this is my first self-titled album," she explains. "On my last album I changed by name to Afterlight and drew a line under everything I'd done up to that point. Not to invalidate it, but to put an end to the 'before'. It was a very inward-looking record that was rooted in the darkness of everything that happened to me up to 2019, whereas this album has its head up and is eyeing the world as a challenge. It's a logical forward motion - the emergence from the shadows of Afterlight into the relative lightness of Thea Gilmore - in a renewal of my vows to music; my first love. In a weird way it feels like a debut of sorts so it made sense to make it eponymous." Across 12 tracks Thea delves into the cracks between the paving slabs of life's big themes. She's exploring the understanding that comes with experience, choosing her battles and finding out who she is now. The stunning 'She Speak In Colours' is a song for love and loss written as part of BBC Radio 2's critically lauded 21st Century Folk project; while 'The Next Time You Win' with its simple piano figures and its collage of spoken and sung lines seems to both accept the way the world works while reaffirming the pledge to stand on the frontline of change. Thea is also excited to bring the album to the stage. She will play London’s Union Chapel on 12th October and then an 11-date tour around the UK in early 2024. Full dates below. Thea Gilmore has made 20 albums since the release of her first, Burning Dorothy, in 1998. The veteran of hundreds of festivals, she has sold out shows across the globe.

Madeline Bells is an American soul singer who got her start as a session singer for Dusty Springfield, The Rolling Stones and Donna Summer. Her 1968 album ‘Doin’ Things’ features soothing vocals, exquisite production and encapsulates the soulful sound of the late 60s.

‘Doin’ Things’ is as perfect a representation of American soul as any that exists. First time ever reissued on vinyl. Originals fetch over $100

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

Der in Yorkshire geborene und in London lebende Sänger, Songwriter und Produzent Ethan P. Flynn kündigt Details zu seinem Debütalbum "Abandon All Hope" an. Das Album, das am 6. Oktober bei Young erscheint, vereint die Erfahrung von 24 Jahren in acht eklektischen Tracks. Mit der aufstrebenden Sängerin Ava Gore als Backgroundsängerin ist "Abandon All Hope" ein kühnes Statement, das Ethan P. Flynn zu einem eigenständigen Künstler macht. "Abandon All Hope" ist der Höhepunkt einer äußerst fruchtbaren Periode persönlicher Kreativität, in der der junge Künstler mit einer Reihe bekannter Namen wie David Byrne, FKA Twigs, Jockstrap und Vegyn zusammengearbeitet hat. 44 Minuten lang, 22 Minuten auf jeder Seite (was absichtlich der traditionellen Länge einer 12"-LP entspricht), aufgenommen in den Narcissus Studios in 12 Tagen, wird das Album durch ein verbindendes Thema zusammengehalten: ein Album im altmodischen Sinne. Es erinnert an 70er-Jahre-Größen wie Randy Newman und Harry Nilsson, während es sich mit der Sehnsucht und dem Verlust der Macht über die Hoffnung in Bezug auf Beziehungen, Liebe, Angstbewältigung und dem Erwachsenwerden im 21 Jahrhundert beschäftigt. Der gleichnamige Titelsong ist die erste Single, die heute zusammen mit einem von Ethan P. Flynn selbst gedrehten Musikvideo veröffentlicht wird, das vom CHILD Studio (Pa Salieu, Anaiis, The xx) produziert wurde. Das Video zeigt Ethan P. Flynn und Ava Gore auf einer Reise durch die Yorkshire Dales, während sie sich von den Fesseln der Hoffnung befreien. Über die Single sagt Ethan P. Flynn: "Am Anfang stand die Geschichte eines Wegelagerers in Amerika, der Leute ausraubt. Er stirbt, und im Fegefeuer ist er gezwungen, den Raubüberfall auf seine eigene Familie zu wiederholen, auf der Straße, für alle Zeit, bis er bereut und in die Hölle kommt. Das Lied wird verdunkelt und mit dem Thema der Hoffnungslosigkeit verlassen. Wir leben in einer hoffnungslosen Zeit: Krieg in Europa, Covid davor, und ich wollte, dass es als Antwort darauf schwer klingt. Vielleicht ist es zu rockig, aber ich wollte auf diesem Album zur Gitarre zurückkehren. Die Gitarre ist der Fokus." Und das ist nur die erste Geschichte, die man von Ethan P. Flynns bereicherndem und ehrgeizigem Debütalbum erfahren wird.

Der in Yorkshire geborene und in London lebende Sänger, Songwriter und Produzent Ethan P. Flynn kündigt Details zu seinem Debütalbum "Abandon All Hope" an. Das Album, das am 6. Oktober bei Young erscheint, vereint die Erfahrung von 24 Jahren in acht eklektischen Tracks. Mit der aufstrebenden Sängerin Ava Gore als Backgroundsängerin ist "Abandon All Hope" ein kühnes Statement, das Ethan P. Flynn zu einem eigenständigen Künstler macht. "Abandon All Hope" ist der Höhepunkt einer äußerst fruchtbaren Periode persönlicher Kreativität, in der der junge Künstler mit einer Reihe bekannter Namen wie David Byrne, FKA Twigs, Jockstrap und Vegyn zusammengearbeitet hat. 44 Minuten lang, 22 Minuten auf jeder Seite (was absichtlich der traditionellen Länge einer 12"-LP entspricht), aufgenommen in den Narcissus Studios in 12 Tagen, wird das Album durch ein verbindendes Thema zusammengehalten: ein Album im altmodischen Sinne. Es erinnert an 70er-Jahre-Größen wie Randy Newman und Harry Nilsson, während es sich mit der Sehnsucht und dem Verlust der Macht über die Hoffnung in Bezug auf Beziehungen, Liebe, Angstbewältigung und dem Erwachsenwerden im 21 Jahrhundert beschäftigt. Der gleichnamige Titelsong ist die erste Single, die heute zusammen mit einem von Ethan P. Flynn selbst gedrehten Musikvideo veröffentlicht wird, das vom CHILD Studio (Pa Salieu, Anaiis, The xx) produziert wurde. Das Video zeigt Ethan P. Flynn und Ava Gore auf einer Reise durch die Yorkshire Dales, während sie sich von den Fesseln der Hoffnung befreien. Über die Single sagt Ethan P. Flynn: "Am Anfang stand die Geschichte eines Wegelagerers in Amerika, der Leute ausraubt. Er stirbt, und im Fegefeuer ist er gezwungen, den Raubüberfall auf seine eigene Familie zu wiederholen, auf der Straße, für alle Zeit, bis er bereut und in die Hölle kommt. Das Lied wird verdunkelt und mit dem Thema der Hoffnungslosigkeit verlassen. Wir leben in einer hoffnungslosen Zeit: Krieg in Europa, Covid davor, und ich wollte, dass es als Antwort darauf schwer klingt. Vielleicht ist es zu rockig, aber ich wollte auf diesem Album zur Gitarre zurückkehren. Die Gitarre ist der Fokus." Und das ist nur die erste Geschichte, die man von Ethan P. Flynns bereicherndem und ehrgeizigem Debütalbum erfahren wird.

Sidney Lumet's masterpiece Serpico released in 1973 is one of the most iconic movies of the 70s. Featuring a career-defining performance by Al Pacino in the title role, it's a superb neo noir encapsulating the post-Watergate mood of the early 70s. The film's soundtrack by Mikis Theodorakis is equally stunning. Composed by Greek musician and arranged by cult jazz pianist Bob James, it is a superb blend of funky instrumental and traditional melodies reminding The Godfather OST.

Wewantsounds is delighted to announce the reissue of Omar Khorshid's cult instrumental album from 1978 originally released in Lebanon. The album features Khorshid's trademark twangy electric guitar sound over arabic melodies enhanced by fascinating fuzzed-up arrangements and early synthesizer sounds. Wewantsounds' series of Arabic music reissues are curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. The album has been newly remastered and comes with the original 'Voice of Lebanon' LP artwork

Wewantsounds is delighted to announce the reissue of Omar Khorshid's highly sought after instrumental album 'Giant + Guitar' originally released in 1974 in Lebanon and recorded at Polysound Studio by famed Lebanese engineer Nabil Moumtaz. The album features Khorshid's unique electric guitar sound mixed with arabic melodies over superb psych arrangements. The album has been newly remastered and comes with the original 'Voice of Lebanon' artwork and a 2 page insert featuring liner notes (Eng/Fr) by Lebanese DJ and curator Ernesto Chahoud.

Following the highly-acclaimed release of FEELING GOOD and INNER PEACE compilations, WEWANTSOUNDS is delighted to announce the reissue of two superb classic albums in our new MAINSTREAM RECORDS ORIGINAL CLASSICS series. The releases will be crammed with bonus material. WEWANTSOUNDS has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions and CD Bonus material with new liner notes. LPs will be released in glorious gatefold sleeves.

Attentat have been going strong since 1978, but as they were working on this album things came to a
crashing halt when vocalist Jönsson ended up in a coma. The whole experience ended up just
strengthening the band's resolve to plow through. Jönsson recovered in record time, the band
replaced both a few songs and a member and ended up with a banger! Swedish singalong punk rock
reminiscent of classic English bands like Buzzcocks and The Clash as well as later US groups like
Rancid and Social Distortion with a little bit of Slade and Sweet sprinkled on top.

Along with Aunt Mary, Junipher Greene and Terje Rypdal, Saft were also a well known group who
were part of the growing norwegian music scene in the end of the 60s and the beginning of the 70s.
Their rare debut album, released in 1971 on Polydor, is a great mixture of beatlesque songs,
garnished with some progressive pieces and touches of folk. You really can feel the enthusiasm of the
band to create a long lasting experience for their listeners throughout the entire album... and they did a
great job because every track is a brilliant musical journey on its own.

Very limited stock available on these. Picture Disc Vinyl Packaging: 2xLP zoetrope (animated) picture discs, 24x36 foldout poster in custom silkscreen PVC gatefold sleeve + download card. On their fifth album, Infinite Granite, Deafheaven are no longer toying with the juxtaposition of pitting metallic abrasion against swirling grandeur. Quite the opposite: Infinite Granite is a bold and brave leap forward, a gorgeous and invigorating album brimming with style and splendor. In the context of their catalog, it takes on a whole other layer of defiant beauty. Across Infinite Granite, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it. Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements. The refinement of their sound was further encouraged by producer Justin Meldal-Johnsen, who lent a pop ear to the record. Jack Shirley, who helped produce every previous Deafheaven album, remained on board to engineer the album along with additional engineering and mixing from nine-time Grammy Award winner Darrell Thorp. Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date. Highlights: Follow up to 2018’s grammy nominated album Ordinary Corrupt Human Love and first full-length release with Sargent House. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more. Three previous albums Sunbather, New Bermuda and Ordinary Corrupt Human Love have received incredible praise from press and named ‘Best New Music’ by Pitchfork. Deafheaven have scanned over 160k albums and streamed over 30 million tracks in the US alone.

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

Like an annabac, the first seconds of the first song from the first album by SAFFRON EYES (a group from Saint-Etienne including members of Raymonde Howard, Le Parti, ThOmas.W...) summarize, for those in a hurry, the themes and feelings that will be developed on the short half-hour of music that the disc contains: smiles in front, blows in the back, amicable breakups and deaf threats. Smile Until It Hurts encapsulates all of this: pleasure in offering (racy and referenced songs, in the fine tradition of indie rock), joy in receiving (pies in the mouth). If the previous EP - first recording act - of the group Pursue a Less Miserable Life (released in 2020 on our label) had a taste of the end of summer, this one clearly smells of the Cold War. He is degreased, boned and only the desire to fight remains, mischievously camouflaged under a form of obvious beauty that whistles in the shower. A production fed on indie rock and its roots (blues, post-punk and a hint of doo-wop), bringing together around a happy campfire the Pixies, Jesus Lizard, Wet Leg, Fugazi, The Cramps, The Gun Club, La Luz, The Feelies, The Bad Seeds, Kathleen Hanna, Anna Waronker…

Eric Krasno is a two-time GRAMMY winning guitarist, musician and producer best known for his work with Soulive, Lettuce, Tedeschi Trucks Band & Pretty Lights. Krasno has been nominated for a GRAMMY a total of seven times for Best Blues Album, Best Contemporary Blues, Best R&B, and Best Electronic Album.

Otis McDonald is a producer/multi-instrumentalist best known for his copyright free music released exclusively through the YouTube audio library, amassing over 5 million downloads and over 25 million streams.

Mike Chiavaro is a Brooklyn based electric and upright bass player with an impressive history.

Combined they form King Canyon, blending their unique styles into an infectious groove filled project with healthy doses of R&B/Soul and funk. The vibe will resonate with fans of Khruangbin, Bobby Caldwell, Allman Brothers, Soulive, Lettuce, El Michels Affair, Unknown Mortal Orchestra, Menahan Street Band, Durand Jones and the Indications, and Son Little (who's featured on one of the tracks).

In the perfect quarantine story the trio forged a relationship and has yet to meet in person. In April of 2020 in the midst of quarantine, Eric Krasno came across Otis McDonald’s music on Instagram and immediately became a fan. Months later, McDonald who had been working on music with his longtime friend, Mike Chiavaro, enlisted Krasno to add in some guitar to the mix and before they knew it, the trio had an album's worth of material and thus King Canyon was born.

The guys have still yet to meet in person, but despite this, the grooves are insatiable. The writing and feel are unlike any other projects these musicians have been involved with previously.

10th Anniversary Edition auf Limited SPLIT-COLOURED Vinyl!

"Run the Jewels - die herausragende Kollaboration der Hip-Hop-Veteranen El-P und Killer Mike - haben sich seit der Veröffentlichung ihres Debüts Run The Jewels im Jahr 2013 von einem launenhaften Underground-Rap-Projekt zu einer weltweiten Sensation entwickelt. Sie mischen den industriellen Dreck von New York City mit dem pulsierenden Bounce des dreckigen Südens und schmieden die Zukunft des Hip-Hop, während sie an den Grundpfeilern seiner Basis festhalten: gymnastische Darbietungen von Fähigkeiten, aufrührerische politische Rhetorik, gnadenlose Angeberei, kampferprobtes Arschlochgehabe, Punchlines mit Altersfreigabe und ein Hin und Her, das das Zusammenspiel der Adidas-Ära schreiend in unseren heutigen Albtraum bringt. Ihr selbstbetiteltes Debütalbum aus dem Jahr 2013 wurde ursprünglich über eine Reihe von kostenlosen Downloads auf der Website veröffentlicht und zerreißt das Regelwerk der Musikindustrie. Mit Big Boi von Outkast auf "Banana Clipper" und Prince Paul auf "Twin Hype Back" ist es ein "rauer und tollwütiger Ritt"; eine "auftrumpfende Siegesrunde für zwei Künstler auf dem Höhepunkt ihrer Kreativität"; und wurde als "eine der besten
Hip-Hop-Platten des Jahres 2013" betitelt

Vathres is the new project by Swedish-based keyboardist and composer Alex Zethson, who usually
performs with acts such as Angles 9, Fire! Orchestra Goran Kajfeš Tropiques, Sven Wunder and
Mariam the Believer, in addition to his own ensembles and solo projects. Record consists of three
extended pieces of cinematic, minimalist post-rock featuring a large ensemble and appearances by
guitar-wizard Reine Fiske (Dungen), keyboardist Tomas Hallonsten, former Meshuggah-bassist
Gustaf Hielm and Cult of Luna-drummer Christian Augustin, among others. LP comes in a Tip-On
sleeve with artwork by Michell Zethson.

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

2023 Repress

2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!