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One for the G-funk heads, this album is on a limited run 300 2LP only.

For their eighth reissue, NBN Archives dips right back in the Bay Area, unearthing a G-Funk gem by San Francisco rapper Tha Dangla. “Straight Max’n” originally came out in 1996 on G-Note Records and produced entirely by G-Note who delivers nothing but smoothed out productions fitting perfectly with Dangla’s funky flow. Despite being considered a Gangsta Rap artist, Tha Dangla remains positive and uplifiting on most of the tracks. The eponym track “Straight Max’n”, “Dangla’s Love” and “Homies Dedication” feature Iyesha Johnson and Latonya Coleman on background vocals, adding a nice touch of R&B to the project.

Repress !

One of music's most unpredictable characters Tricky is back with his new album Adrian Thaws, released in conjunction with !K7 Records and his imprint False Idols.
'Calling it Adrian Thaws is saying you don't really know me,' says Tricky, explaining the title of his 11th album. 'So many times people have tried to put a finger on me and every album I
go to a different place.'It's typical of one of music's most unpredictable characters that the first album to bear his
birth name is one of his least introspective. Adrian Thaws is a vivid, attention-grabbing set of songs which roamfrom hip hop to house, jazz to blues, rock to reggae. It was recorded in
Tricky's home studio in London, where he's living again after almost two decades in New York, Los Angeles and Paris, and features an international crew of collaborators: Francesca
Belmonte, Nneka, Mykki Blanco, Bella Gotti, Tirzah, Blue Daisy and Oh Land. It's designed to be played loud.
'I suppose this is my club/hip hop album,' he says. 'I've only heard my music a few times in a club but I grew up in clubs from when I was 14: blues parties, hip hop clubs, a few raves. I'm
not known for doing club music but this album has some club tracks on it — well, what I would consider club music.'
Tricky makes complicated music because Adrian Thaws has had a complicated life. Born in 1968, he grew up in an extended family that was both black and white, urban and rural, containing strong women and volatile men. His choice of cover versions is revealing. Janet Kaye's 1979 lovers rock classic Silly Games reminds him of his childhood in Bristol's Knowle West district. London Posse's 1990 track Gangster Chronicle harks back to his musical apprenticeship with the Wild Bunch and Massive Attack under the name Tricky Kid before he launched his solo career with 1995's startling Maxinquaye. Tricky has always used music to explore the different, sometimes contradictory facets of his
background and personality. 'I can be anything I want when I do an album,' he says. 'I could be a woman, I could bea man. It's great to be able to be all these different things.'

Music For Dreams signal the summer with the debut LP from Ibizan royalty DJ Pippi & Willie Graff, released digitally on May 27th with the physical version following on the 8th July. The latest bounty from the Danish label’s long and fruitful relationship with the White Isle, Follow Your Dreams is a twelve plate tapas packed with the assorted styles and flavours of the Balearic sound - a complex blend delivered with a warmth, feeling and tone which bring it all together as a whole.

Collaborating on and off over the past fifteen years, with resulting singles gracing the likes of Compost, Leng and Archipelago, DJ Pippi and Willie Graff posses a unique combination of Balearic heritage; one an Italian export who helped originate the sound and style of the genre through his legendary DJ sets at the likes of Pacha and KU in the eighties, the other a trailblazing talent born on the island, who started his residency at Pacha in summer 2000 at the tender age of 17. Their intergenerational entente speaks to Pippi’s unyielding passion for sonic progression and the musical maturity of Graff, as well as a shared love of the soulful side.

- Mintgrünes Doppelvinyl (140g) inklusive Downloadcode und exklusivem 12” Art Print.


ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

DOUBLE BLACK LP : 2 x 140 G Black Vinyl , Sleeve & 2 x Heavy Weight Printed Inner with UV Gloss Finish

Legendary electronic music duo Orbital return Early 2023 with new album “Optical Delusion”, the Hartnoll brothers first studio album since 2018’s Monster’s Exist. Recorded in Orbital’s Brighton studio, “Optical Delusion” includes contributions from Sleaford Mods, Penelope Isles, Anna B Savage, The Little Pest, Dina Ipavic, Coppe, and perhaps most surprisingly, The Medieval Baebes.
Earlier this year, Orbital celebrated their storied history with “30 Something” which, unlike other Best Of’s, contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks including “Chime”, “Belfast”, “Halcyon”, “Satan”, and “The Box”

SHORT BIOG:

“A human being experiences himself, his thoughts and feelings as something separate from the rest of humanity – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”


But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

2 x Solid White LP, 5mm spine Sleeve UV Gloss Finish, 2x Heavy Weight Printed Inner Sleeve UV Gloss finish, marketing sticker.

Legendary electronic music duo Orbital return Early 2023 with new album “Optical Delusion”, the Hartnoll brothers first studio album since 2018’s Monster’s Exist. Recorded in Orbital’s Brighton studio, “Optical Delusion” includes contributions from Sleaford Mods, Penelope Isles, Anna B Savage, The Little Pest, Dina Ipavic, Coppe, and perhaps most surprisingly, The Medieval Baebes.
Earlier this year, Orbital celebrated their storied history with “30 Something” which, unlike other Best Of’s, contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks including “Chime”, “Belfast”, “Halcyon”, “Satan”, and “The Box”

SHORT BIOG:

“A human being experiences himself, his thoughts and feelings as something separate from the rest of humanity – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”


But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

grey marbled vinyl / incl. dl code

Full artwork - Special Edition 3 x 12" solid white & grey mixed (Ash Grey) coloured vinyl. Housed in book-opening gatefold sleeve with a gloss varnish finish.
Each individual vinyl is housed inside a custom printed sleeve. Includes download card.

Plays on 45 RPM

The Pretty Reckless veröffentlichen 2022 ein neues Projekt namens »Other Worlds«. Die Sammlung wird akustische Aufnahmen, Cover-Versionen und mehr von Taylor Momsen und Co. enthalten.

Vor allem einige der Cover-Versionen dürften für Fans der Hardrocker aus New York eher überraschend kommen. So enthält »Other Worlds« neue Interpretationen von Elvis Costellos »(What's So Funny 'Bout) Peace, Love And Understanding«, Soundgardens »Halfway There«, Chris Cornells »The Keeper« und David Bowies »Quicksand«.

»Wir haben lange Zeit versucht, einen alternativen Weg zu finden, um Musik zu veröffentlichen, einschließlich Songs, die wir lieben und die es nicht auf unsere Platten geschafft haben, sowie Cover und alternative Versionen«, erklärt Frontfrau Taylor Momsen.

»Mit ›Other Worlds‹ haben wir einen Weg gefunden, dies kohärent und konsequent zu tun. Wir sind eine Rockband, deshalb gibt es auf unseren Platten viele E-Gitarren. Allerdings haben wir von unseren Fans unglaubliches Feedback zu unseren akustischen Auftritten bekommen, und die haben wir nie in einem richtigen Format veröffentlicht. Dies ist also eine andere Sichtweise auf das traditionelle Format einer Platte und eine abgespeckte Version von uns, die unsere Fans noch nie zuvor gehört haben, aber es sind immer noch wir.«

»Other Worlds« enthält auch einige besondere Gäste, darunter David Bowies Pianist Mike Garson, Pearl Jams Matt Cameron und den Multiinstrumentalisten Alain Johannes.

Über 6 Milliarden Streams für ihren bisherigen Katalog und mehr als 20 Millionen Follower:innen rund um die Welt – Aya Nakamura hat in den jüngsten Jahren Standards gesetzt. Nun öffnet der französisch-malische Superstar das nächste Kapitel für sich: Am 27. Januar erscheint das neue, vierte Album „DNK“, schon heute gibt es die Single „Baby“ in Begleitung eines Musikvideos – siehe unten.

„DNK“ folgt auf das 2018 veröffentlichte „NAKAMURA“ – das meistgestreamte französischsprachige Album aller Zeiten – und „AYA“, das 2020 erschien, zum meistgestreamten Album des Jahres 2021 einer Künstlerin in Frankreich wurde (über 1 Milliarde Streams!) und den Victoire de la Musique France Music Award 2022 gewann. Zusammen haben sich Nakamuras Alben weltweit über 1,5 Millionen Mal verkauft – und das nicht etwa nur in französischsprachigen Ländern, sondern quer durch Europa, Afrika und Südostasien. Wie populär die Künstlerin ist, zeigen auch ihre Zahlen bei TikTok: über 40 Millionen Creations und mehr als 40 Milliarden Views auf fünf Kontinenten gehen auf ihr Konto.

Nachdem die Titel der beiden Alben „Aya” und „Nakamura“ sich auf ihre Künstlernamen bezogen, gibt der Titel „DNK“ des neuen Albums einen Hinweis auf ihren bürgerlichen Nachnamen Danioko. Unverändert bleibt ihr einzigartiger lyrischer Stil, der der Pariser Slang, Arabisch und Bambara (die malische Sprache ihrer Eltern) vereint und Afrobeat, Pop, R&B und den karibischen Dance-Sounds des Zouk einen frischen Anstrich verpasst. Für zusätzliche Abwechslung sorgen die Features des Albums, darunter die aufstrebenden Rapstars Tiakola & SDM und die bekannte karibische Zouk-Sängerin Kim

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....

Back to 2002, the beginning of the new millennium. Tom Churchill's Headspace Recordings label had already been making an impact on the deeper strains of techno emanating from within the UK. With releases from detroit's Sean Deason, CiM, Hanna, Vince Watson and many more, Headspace was already a 'must check' label within record buying and DJ circles. This stellar split EP with NYC's Dennis DeSantis saw the pair remix each others tracks, both turning in very different, but equally complimentary sonic excursions. Churchill's 'Spaces' is surefire deep-space techno boogie of the highest order, swinging and funky and melodic in equal measure. The DeSantis remix of 'Spaces' is also a total winner, a stripped back exercise in expert minimalism, full of feeling and a perfect partner to the original mix. On the flip is Dennis DeSantis' 'Leisure', a sprawling and laconic broken house jam. Brilliant and teasing melodic synth motifs sit atop nagging acidic basslines and space. Again, the remix follows the original and Tom Churchill dials the track down into chasm deep shuffling drums and basslines and dubbed out FX. It's hard to think of an EP where two artists can remix each others music in such a compelling way, and for it to work so well. This is truly an excellent release and it's a real pleasure to see these tracks back on the streets. Sublime, and essential.

'Spaces / Leisure' has been legitimately re-released with the full involvement of Headspace Recordings for 2020 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Als LACRIMOSA 1994 ihr bahnbrechendes "Schakal"
veröffentlichten, waren sie die erste Szene-Band, die
Gothic und Metal kombinierten, und dies in eine
klassische Orchestrierung einbetteten! Von der
Metal-Presse als zu düster und von der Gothic-Presse als
zu hart verrissen, fand sich der Band zunächst auf
einsamen Posten. Zwei Jahre später waren LACRIMOSA
Headliner der Dark Winter Nights Festivals, der ersten
Festival-Tour, die Gothic- und Metal-Bands wie THE
GATHERING, SENTENCED oder DREAMS OF SANITY
auf einer Bühne vereinten. Der Rest ist Geschichte: Viele
Bands, sowohl aus der Metal- als auch aus der
Gothic-Szene, folgten ihrem Beispiel und Gothic Metal,
sowie Symphonic Metal wurden bis heute zu etablierten
Musikstilen. In der Zwischenzeit haben LACRIMOSA ihre
musikalischen Fähigkeiten weiterentwickelt und
perfektioniert, während sie seit mehr als 20 Jahren Shows
auf der ganzen Welt von Argentinien bis China spielen
und nun alles in diesem Meisterwerk zusammenführen:
Leidenschaft trifft auf Vollkommenheit, Schmerz trifft auf
Erlösung und Dunkelheit trifft auf das leitende Licht der
Liebe! "Leidenschaft" ist mehr als ein neues Album, es ist
ein magisches Erlebnis purer Hingabe!

Repressed!

For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody, which will be released on January 26th, 2018 via Erased Tapes, before Nils embarks on his first world tour since 2015.Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale.

Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950's East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements, building a pipe organ and creating a mixing desk all from scratch with the help of his friends.

This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfil his pursuit of presenting music to the world as close to his imagination as possible.His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers.

His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody.Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils' own capabilities. From a boy's dream to resetting the parameters of music itself.

Cat Clyde’s 3rd album Down Rounder is a wonder of deeply felt songwriting, a record that finds the Canadian singer-songwriter marveling at what’s around her while considering her own place within it all. With ten songs on the album, Down Rounder possesses an intimate and personal feel, transporting the listener to the recording studio as Cat performs these hair-raising tunes with confidence and passion. Cat joined producer Tony Berg in Los Angeles’ famed Sound City studios to lay down the entirety of Down Rounder in six days flat. The record sounds both lively and lived-in, with Clyde’s malleable singing voice—spanning an appealing twang to a lovely, plaintive croon and anywhere in between—espousing an essential connection between our spiritual center and the natural world that surrounds us. The album is an exploration and expression of self, patterns in the natural and unnatural world, connecting to nature, the turning wheel of life, shedding old selves, embracing new selves, and the ever changing, expanding and contracting nature of love and life. After racking up millions of streams across multiple platforms with previous releases, Down Rounder sounds like the work of someone who’s found themselves artistically and holistically, while extending a hand to any listener who wants to follow Clyde on her singular and thrilling path.

In a world of Player Haters and Nay sayers its only right that the Underground Legend sets that standard with high quality sonics for you to ride around and be motivated by. New Jersey's own rising star Da$H links with London's SONNYJIM, who handles production duties, to bring you their latest offering "BETWEEN THE LINES". A project that embodies Grimy Drums and soulful Samples laced with thought provoking lyrics that complement each other perfectly.

Renaldo Domino
Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville.
He was nicknamed Domino because his voice was sweet as sugar, Domino being an American sugar brand name.
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
He had a relatively short recording career releasing only 7 singles between 1967-1971. His first 45 was recorded whilst he was still attending high school on a tiny label Arnell on a low budget.
The Arnell 45 did well enough for him to get signed to Smash (a Mercury subsidiary) where he released two 45s, re-recording 'I'm Hip To Your Game' for his second Smash single, as it's a different version to the one released on Arnell. His third 45 was released on another Mercury subsidiary, the now revived Blue Rock which had been 'suspended' since 1966 and reacivated in 1968. The records sold reasonably well locally but Dominio left to join Twinight, feeling that his material wasn't being promoted by Mercury, where he released a further three singles between 1969-71. Twinight released him in 1971 and despite trying to get another recording contract he was unsuccessful and left the music business to pursue another career.
He was managed by William Sandy Johnson who also managed LaShawn Collins and Wendy Woods who recorded on Johnson's Sincere label, the only 2 releases on the label. He also wrote Renaldo Domino's first 4 A sides: 'I'm Getting Nearer To Your Love', 'Just Say The Word', 'Not Too Cool To Cry', 'Let Me Come Within'. In addition he wrote 'Do It Now' for Wendy Woods and the flip to LaShawn Collin's classic 'What You Gonna Do Now', 'Girl Chooses The Boy'.
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

​

Tricky is back. Back with a new studio album, False Idols, and his own label (also bearing the False Idols name), but also back in a personal sense. I was lost for ages, he says. I was trying to prove something to people, trying to do something to please other people and also myself at the same time, which is never going to work. To be honest with you, Ive been floating around since Chris Blackwell and Island. My last two albums, I thought they were good, but I realise now they werent. This album is about me finding myself again.
It opens with a cover of a Van Morrison song, Somebodys Sins, which sees Tricky and vocalist Francesca Belmonte whispering Jesus died for somebodys sins, but not mine over a sparse groaning bass. The lead single Parenthesis, which features a vocals from Peter Silberman of The Antlers, has more rhythmic grunt, which gives a different dimension to the dark gothic atmosphere that pervades the record. No-one does this kind of thing better.
The resemblance to Maxinquaye is undeniable, though the material on False Idols is gentler; more mature. Many of the songs feature artists signed to Trickys new label, including 24-year Londoner Francesca Belmonte and Fifi Rong. The album also includes collaborations with Nigeria's new global star Nneka, the afore-mentioned Peter Silberman. In the months before the albums release, False Idols will also release an EP "Matter of Time" showcasing the labels roster on new non-album material produced by Tricky.
Why the name False Idols Because theres so much bollocks going on at the moment mate, Tricky fires back. People follow celebrities and read every little thing they do. Its living vicariously through someone else. Get your own life. All this stuff is false idols. In this new album Ill stand behind every track, Tricky says. I dont care whether people like it. Im doing what I want to do, which is what I did with my first record. Thats what made me who I was in the beginning. If people dont like it, it dont matter to me because Im back where I was.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

SOYUZ (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. SOYUZ's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in.

‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'.

On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends SOYUZ have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more.

‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

AMP WALL MONUMENT CONFRONTATION critically engages with the imperialist history of the Otto von Bismarck Monument at the Deutsches Museum in Munich by re-contextualising it through sound and performance. For one day in June 2021, a sculpture made of 21 guitar amplifiers was installed in front of the monument, with seven electric guitars connected to it. Seven guitarists performed a four-hour drone composition.

Sides A and B comprise arrangements of the sound material recorded on site, taking up the structure of the score. Sides C and D feature interpretations of the same material by Lamin Fofana, Sarah Badr aka FRKTL, Elsa M'bala, Cedrik Fermont and Jay Glass Dubs. The LP is accompanied by a booklet with the original score and an essay by the Australian art historian Damian Lentini (curator, Haus der Kunst, Munich), which proposes further perspectives to a critical engagement with German colonial history and current polyphonic postcolonial discourses.

"Deining" is the first full album by bassist and composer Dries Laheye. We know Dries as a composer and bass player for bands such as STUFF., Hoera. and Lucid Lucia. He is widely referred to as one of the better Belgian bass players of his generation and now comes forward with a solo-repertoire on this debut-EP.

His intention was to create music that feels like it keeps moving. The result is a dreamy universe that flows through concrete elements and improvised passages. The compositions of this repertoire were written for solo bass guitar with effects as tools. The tracks are recorded live in the studio and some overdubs with voice, bansuri flute and synthesizer were added to create a more layered sound.

Recommended to people who love Taylor Deupree, Bibio, Bill Frisell, Skuli Sverrisson, etc.

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

50 years after the genre turned the music world upside-down, GRADE 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong’s legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk
coursing through their veins.
Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous Grade 2 is their magnum opus.
The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong’s Ship Rec Studio in Los Angeles. “Returning to Ship Rec Studio resparked that magic dynamic” says guitarist Jack Chatfield. “When we’re in there I feel like we reach our full potential.
Tim would offer tweaks and tips for some songs, while others he’d compliment as finished first time we played them.” “We worked flat-out recording this record,” says drummer Jacob Hull, “but we never felt pressured, Tim keeping us in the zone to make the best tunes of our lives.

Limited Yellow Coloured Vinyl Edition

50 years after the genre turned the music world upside-down, GRADE 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong’s legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk
coursing through their veins.
Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous Grade 2 is their magnum opus.
The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong’s Ship Rec Studio in Los Angeles. “Returning to Ship Rec Studio resparked that magic dynamic” says guitarist Jack Chatfield. “When we’re in there I feel like we reach our full potential.
Tim would offer tweaks and tips for some songs, while others he’d compliment as finished first time we played them.” “We worked flat-out recording this record,” says drummer Jacob Hull, “but we never felt pressured, Tim keeping us in the zone to make the best tunes of our lives.

White Vinyl

The Pretty Reckless haben dem Rock 'n' Roll den nötigen Schwung für eine neue Generation gegeben, und sie haben es auf ihre ganz eigene Weise geschafft. Seit 2008 haben sie sich als die ungewöhnlichste Naturgewalt entpuppt, die in INTERVIEW Magazine, Nylon, ELLE, Good Morning America und Entertainment Tonight erscheinen kann - und sich eine Bühne mit Guns N' Roses und Soundgarden teilt. Zusammen mit dem verstorbenen Produzenten Kato Khandwala entfachten sie diese Flamme auf Light Me Up 2010 und Going To Hell 2014. Letzteres enthielt drei Nummer-1-Hits - das Platin-zertifizierte "Heaven Knows" (der größte Rocksong des Jahres 2014), "Fucked Up World" und "Follow Me Down". Nach "Who You Selling For" von 2016 stieg "Take Me Down" auf Platz 1 der US Mainstream Rock Songs Chart und machte die Band laut Billboard zur "ersten Band, die ihre ersten vier Singles auf Platz 1 der Charts schickte". Im Jahr 2021 wurden sie mit dem Album "Death By Rock and Roll" in den Himmel gehoben. Die vierköpfige Band ging in die Geschichte ein als "die erste von einer Frau angeführte Band, die zwei Mal hintereinander auf Platz 1 der aktiven Rock-Charts stand" und "die erste von einer Frau angeführte Band, die sieben Mal auf Platz 1 der Billboard Rock Radio Charts stand". Das Album wurde nicht nur vom V Magazine, Spin und anderen gelobt, sondern landete auch auf Platz 1 der Billboard Top Album Sales Chart. Bemerkenswert ist auch die Zusammenarbeit mit Legenden wie Matt Cameron und Kim Thayil von Soundgarden bei "Only Love Can Save Me Now" und Tom Morello von Rage Against the Machine bei "And So It Went". Diese Grenzenlosigkeit treibt "Other Worlds" [Fearless Records] an, wo sie ihre ersten richtigen akustischen Aufnahmen, unerwartete Covers und andere Neuinterpretationen abliefern und einmal mehr Neuland betreten.

The Pretty Reckless haben dem Rock 'n' Roll den nötigen Schwung für eine neue Generation gegeben, und sie haben es auf ihre ganz eigene Weise geschafft. Seit 2008 haben sie sich als die ungewöhnlichste Naturgewalt entpuppt, die in INTERVIEW Magazine, Nylon, ELLE, Good Morning America und Entertainment Tonight erscheinen kann - und sich eine Bühne mit Guns N' Roses und Soundgarden teilt. Zusammen mit dem verstorbenen Produzenten Kato Khandwala entfachten sie diese Flamme auf Light Me Up 2010 und Going To Hell 2014. Letzteres enthielt drei Nummer-1-Hits - das Platin-zertifizierte "Heaven Knows" (der größte Rocksong des Jahres 2014), "Fucked Up World" und "Follow Me Down". Nach "Who You Selling For" von 2016 stieg "Take Me Down" auf Platz 1 der US Mainstream Rock Songs Chart und machte die Band laut Billboard zur "ersten Band, die ihre ersten vier Singles auf Platz 1 der Charts schickte". Im Jahr 2021 wurden sie mit dem Album "Death By Rock and Roll" in den Himmel gehoben. Die vierköpfige Band ging in die Geschichte ein als "die erste von einer Frau angeführte Band, die zwei Mal hintereinander auf Platz 1 der aktiven Rock-Charts stand" und "die erste von einer Frau angeführte Band, die sieben Mal auf Platz 1 der Billboard Rock Radio Charts stand". Das Album wurde nicht nur vom V Magazine, Spin und anderen gelobt, sondern landete auch auf Platz 1 der Billboard Top Album Sales Chart. Bemerkenswert ist auch die Zusammenarbeit mit Legenden wie Matt Cameron und Kim Thayil von Soundgarden bei "Only Love Can Save Me Now" und Tom Morello von Rage Against the Machine bei "And So It Went". Diese Grenzenlosigkeit treibt "Other Worlds" Fearless Records an, wo sie ihre ersten richtigen akustischen Aufnahmen, unerwartete Covers und andere Neuinterpretationen abliefern und einmal mehr Neuland betreten.

Pink Vinyl
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

After releasing their highly anticipated singles "This Is Going South" , "Dive Deep Down" , "The Problem"and "Bad" earlier this year,Stockholm based unit DULL.The Album contains everything the die-hard fans of early 00"s alt rock could ask for - the down strokes, theguitar melodies, the sing-along chorus and an intensity that only keeps on increasing throughout the relativelyshort track.Canan Rosén, guitar and vocals, on their new single:"This track deals with that feeling you get once you see someone for who they really are and realize what a loserthis person is and always has been. There"s too many people who claim to be something they"re not or claim todo something they can"t. Time to come down off your high horse and face reality!"The members of DULL are no strangers to the Swedish rock and punk community. Hailing from acts such as Dead Vibrations, Twin Pigs, Tiger Bell, Mary"s Kids and Boris and The Jeltsins DULL are certain not to be dull at all. DULL consists of: Canan Rosén - Guitar/vocals Max Lindén - Bass Louise Erdman - Guitar/vocals Elias Jonsson - Drums DULL manages to take an uneven combination of alternative combination of alternative rock, punk, and Indie and turn it into something that works. Works pretty damn well. Don"t be dull, enjoy music!

Steve Moore's Lovelock is back with Washington Park, a gorgeous suite of instrumental lounge music that can only be described as synth exotica. A real departure for Steve, this is a more mellow, soothing sound and can be regarded as Lovelock's response to these dystopian times.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. Yet his Lovelock alias has been quietly blowing minds and warming hearts for a decade plus now. His latest effort, Washington Park, was not initially meant to be a Lovelock album. But Steve was posting little snippets of his work on Instagram and people started asking him: "is this new Lovelock?" It was at this point that Steve had an epiphany, of sorts. "It occurred to me that Lovelock can be whatever I want it to be. So yeah, maybe this new lounge/exotica record is, in fact, Lovelock."

Washington Park creeped out in a very low-key, early lockdown fashion and there wasn't much of a reaction. Says Steve, "I just self-released it and all my usual suspects were down with it, but it didn't really make it outside of my own circle." Yet many of the Balearic heads in Europe were indeed on it and Be With were most certainly listening. So, when we struck a deal to do the vinyl version of Burning Feeling, we couldn't resist asking about Washington Park.

Gentle opener "It Means Love" grooves along in the laconic style, conjuring carousel innocence and complimented by dreamy, spiritual sax and syrupy synth strings over a digi-soul beats. Title-track "Washington Park" glides smoothly in much the same vein, almost like a slightly more acidic, squelchier version of the preceding track with more insistent organ. Swoon. Closing out Side A, steady ambient gem "We'll See" is all gorgeous, soft pads with plaintive guitar and organ giving way to soaring digital strings over that metronomic drum machine soul.

Flip for the eerily brilliant "Seduction", a track which starts like a minimalist slice of Tommy Guerrero-esque guitar and drum machine soul but soon takes on a more menacing bent as Steve leans into his long-held predilection for horror by creating a slow-mo haunted house jam. The tempo (and temperature) rises with "Center Square", a Latin rhythm section and a sensual sax rubbing up against hot and heavy organ and string action. Steamy! To round things off, the ominous creeping groove of "Rhythm 77" feels like exotica-in-excelsis.

Washington Park was recorded over the first few months of the pandemic, during the spring of 2020, against the backdrop of his kids being out of school which meant daily walks and bike rides through Washington Park in Albany. It was during these moments of family activity and gentle movements, trying to make sense of the chaos engulfing his world, that Steve formed the ideas that led to this album. To make it manifest, he used all his old Roland beat boxes (CR-78, Rhythm 77 and Rhythm 330, Rhythm Arranger) plus a Chamberlin Rhythmate for all the percussion. Basslines were usually performed with his Moog Source or Minitaur and for pads and brass he used his Sequential Prophet 600 and Roland Juno 60. Strings came via a variety of old stringers - Korg Polysix, Elka Rhapsody, Crumar Orchestrator and Solina String Ensemble - and he also used his Fender Strat and Yamaha Custom saxophone.

Steve is a huge fan of exotica and that's clearly where this album is coming from. The likes of Martin Denny, Les Baxter and Henry Mancini can all be discerned here. As Steve explained, "I spent a lot of time listening to that stuff in the 90s and I figured it was time to let those influences show." You're going to be glad he did.

Mastering for the Washington Park vinyl edition was overseen by Be With regular Simon Francis before being cut by Cicely Blaston of Alchemy Mastering at AIR Studios and pressed in the Netherlands by Record Industry.

Ron Sexsmith is one of Canada"s most accomplished singer-songwriters. Born and bred in St Catherine"s near Niagara Falls and currently resident in Stratford, Ontario, he has released 16 albums to date. He has collaborated with the likes of Daniel Lanois, Mitchell Froom, Ane Brun, Tchad Blake, and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Film-maker Doug Arrowsmith made an acclaimed documentary about Ron in 2010 called "Love Shines". In 2017 Ron published his first book, a fairy tale entitled "Deer Life". With one exception, these new songs all flowed from Sexsmith"s fertile musical and lyrical imagination in a short period of 2021 during covid. "The songs came out of nowhere," Ron explains. "I wasn"t really writing after the 2020 release of my previous album, Hermitage. The older I get, the more I think "maybe this is it," but then I found myself with new ideas again and got excited."

Alto saxophonist Jackie McLean had the blues on his mind when he went into Van Gelder Studio in 1961 to record his hard bop masterpiece Bluesnik with a blazing quintet featuring Freddie Hubbard on trumpet, Kenny Drew on piano, Doug Watkins on bass, and Pete La Roca on drums. The six-song set of bluesy originals brims with immediacy and vibrancy.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.12 Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Cryptically-named duo JOHN - comprised of John Newton (drums, lead vocals) and Johnny Healey (guitar, backing vocals) - return with their first new music since the release of their acclaimed third album Nocturnal Manoeuvres . It comes in the guise of the blistering 'Theme New Bond Junior', the A-side of a new 7" single, b/w 'Hopper on the Dial'.

Set to undulating guitar riffs and a greater sense of dynamics than ever before, 'Theme New Bond Junior' finds JOHN tackling the questioning feelings that arose as the band returned to the live circuit once venues began to open their doors as they embarked on a rapturous 30-date UK tour in autumn 2021, as well as recent festival slots at Green Man, End of the Road, Latitude, a main stage appearance at Bearded Theory’s Spring Gathering and a memorable return to the mainland at Belgium’s historic ROCK HERK.

“The arts function as a mirror of our wider culture, and it’s been interesting to see how the acceleration of the present affects most aspects of our lives - including the production of art and music," says Newton. "The track was a gestation on the speed of consumption: this includes both the constant update/obsolescence of physical products and their resulting affect on the human attention span.”

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. Show- casing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like God- flesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-re- corded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.