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Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

Pink Marbled Vinyl

Our next release is a huge project executed by Dubbing Sun. The list of artists involved in making of this 12" is really impressive and it features very talented vocalists as well as instrumentalists from all over the world including Warrior Queen, Lady Skavya, Piya Zawa, Caveman Dub & Khoe Wa. It got pressed on a coloured dirty pink vinyl and is limited to just 400 pcs. Out September the 2nd.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Josh Hughes (Cub\cub) returns for his second album of a long hot summer, Radiant Crush. Following the glimmering enchantments of his previous outing, Nothing New Under The Sun, this latest chapter brings things to a dizzying climax. While Josh's palette champions the lo-fi, it's his ability to unveil rich melody, seemingly spilling through ever shifting sliding doors, that leads the listener on a merry dance of intangible delights. As Radiant Crush continues to build, we increasingly discern hazy voices coming through the divide: Through a Narrow Window resonates like a lost gem from This Mortal Coil; until Drift finally breaks through with Louisa Osborn's blissful vocal performance, pulling everything into focus to stand as the album's glorious centre piece. While Radiant Crush is very capable of speaking for itself, when pressed Josh describes his work as "music for an incurably ambiguous world", and we can see how nothing is quite what it seems when he goes on to describe this latest album in similarly evasive terms: "Radiant crush is a series of nebulous concepts designed to make the listener think about the way in which we as human beings can idealise a past that never existed. The album focuses on the fragility of the human brain and the power emotions have over recollection through tracks that leave you with a feeling of longing, for something you can’t quite put your finger on. I think more than any other work I’ve made, this album feels the most human. Vocals feature quite prominently throughout the record, most of them are distorted, veiled or fragmented in keeping with the theme of a loss of connection and meaning. Drift is the only track on the album with intelligible vocals, this was intentional as it honestly and tenderly deals with the theme of living in an incurably ambiguous world." Radiant Crush will be released on 2nd September, via digital platforms and limited edition pressed vinyl. Genre: Electronic / Ambient

Switched On 5/LtdDeluxe

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

Im heutigen Progressive Rock scheint es, als gäbe es jede Woche eine neue Supergroup. Aber lange bevor das die Norm wurde, und bevor Musiker regelmäßig in mehr als einer Band involviert waren, gab es Liquid Tension Experiment. 1997 vereinten Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater) und Tony Levin (King Crimson, Peter Gabriel) ihre Kräfte und erschufen Liquid Tension Experiment. Das Quartett veröffentlichte 1998 ihr legendäres, selbst-betiteltes Debütalbum und 1999 dann direkt das beeindruckende Nachfolgeralbum 'LTE2'. Dabei kreierten sie einen dynamischen, wilden und erfinderischen Sound, der bis heute einmalig ist. Die unglaubliche Kreativität dieses Kollektivs führte dazu, dass Petrucci und Portnoy Rudess einluden, Dream Theater beizutreten, was das Ende dieses Seitenprojekts bedeuten sollte. 22 Jahre lang passierte nichts, obwohl kaum eine Reunion gefragter war als diese. Doch wenn die Welt sich im Lockdown befindet und sich die Kalender dieser vier Ausmahmemusiker unerwarteterweise als leer erwiesen, ist das Undenkbare passiert... LTE3.Die acht Songs auf LTE3 sind ein Mix aus vier vollständig komponierten Tracks, zwei Duetten, einem spontanen Jam und einem akribisch arrangierten Cover. 'Wir haben vier Songs komponiert. Wir realisierten, dass es das Gleiche war wie bei den ersten beiden Alben.', erklärt Portnoy. Jordan Rudess stimmt zu, 'Es fühlt sich wie eine Fortsetzung an. So als hätten wir LTE2 aufgenommen und wären eine Woche später wiedergekommen, um LTE3 zu machen. Ich weiß, es ist unglaublich, aber die Zeit verging wie im Flug und die Chemie ist genau die gleiche. Es war damals großartig und das ist es auch heute.' Petrucci kommentiert: 'Wer hätte gedacht, dass eine Gruppe Typen in unserem Alter so spielen würden? Es ist unerbittlich. Es ist definitiv ein Statement, du weißt, wir sind zurück. Es ist wie immer, wenn du 'play' drückst, walzt es dich nieder.

Still Life has been shaped by Katuchat's various musical influences: Arca, Vegyn, Sophie or Boards of Canada, artists who inspire him in the production of complex and detailed rhythms. For his first album, he wanted to experiment with more melodious sounds but also to diversify his music by collaborating for the first time with other artists (Chester Watson, Lia...).

Music being omnipresent in his daily life, his inspirations are as multiple as indefinable. We find them in what surrounds him, in the places, the interactions, the events which, unconsciously, directed the creation of the album. This idea inspired the artistic direction of "Still Life": the music is kind of a time capsule, which we can listen to again later to rediscover past moments of life, remembering the circumstances in which we first listened to it, and in his case, created it. Electronic music allows the listeners to attach their own interpretation and their own emotions, be they joyful or more melancholic.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

Last Temptation with their 2nd album "Fuel For My Soul". Founded by guitarist Peter Scheithauer (Killing Machine, Belladonna, Temple of Brutality) and singer Butcho Vukovic (Watcha, Showtime), with bassist Julien Rimaire (Los Dissidentes Del Sucio Motel) and drummer Vince Brisach (Mitch Ryder), the band has a whole new rhythm section that supports them. Fuel for my Soul has a completely different production style than the band's debut album. The band had over 40 demos before finally narrowing them down to 11 hard-hitting tracks, all the rhythm tracks, bass, drums, and guitars were recorded live, and the songs are far more versatile than the previous release. While Last Temptation still maintain their Ozzy/Black Sabbath influences, they add a grungy twist, along with big choruses that add an 80s vibe. A big step forward for Last Temptation.

Unmittelbar nach der Veröffentlichung seines Debüt - Album "Where I Come From" attestierte der SPIEGEL: "Großartiger Start eines Supertalents", die NEUE MUSIK ZEITUNG kürte das Album zum "Debüt des Monats" und die renommierte "Münchner Konzertgesellschaft" verlieh ihm den Jazz - Förderpreis.
Mit dem neuen Album hat Sandro Roy nun augenscheinlich seine künstlerische Richtung gefunden, denn zum einen stellt er erstmals eine feste Besetzung, die Sandro Roy Unity Band, vor, zum anderen lässt er hier und da aber auch aufblitzen, dass er musikalischen Hochkarätern wie Bireli Lagrene, Jermaine Landsberger, David Gazarov oder Martin Taylor ein gern gesehener Partner im Studio ist.
Der auch bei SKIP schon mit eigenen Alben in Erscheinung getretene David Gazarov lässt das Django Reinhardt - Stück 'Place De Brouckere' in fast monkischer Schule daherkommen und zu Höhepunkten geraten die Begegnungen mit dem legendären Bireli Lagrene an der Gitarre, sei es die Hoagy Carmichael - Ballade 'The Nearness Of You', der Stevie Wonder-Klassiker 'You Are The Sunshine Of My Life' oder 'Dinelo', bei dem Sandro Roy und seine Band feinfühlig aber stets mit modernem Blick den Di Piazza-Klassiker mit Bireli Lagrene präsentieren. Und natürlich darf auch sein langjähriger Begleiter Jerome Weiss am Piano nicht fehlen, der in der Henry Mancini-Komposition 'Sabrina' den vielleicht klassischsten Zugang zu Sandro Roy offenlegt. Damit wird die Bandbreite unterschiedlichster Konstellationen abgebildet, die derzeit von Sandro Roy angeboten werden. Sandro Roy wird im Duo, Trio, Quartett, mit Orchestern und als virtuoser Solist sein Publikum weiter vergrößern, man darf gespannt sein, welche Ensembles er für sein Publikum auf den Festivals und in den Clubs bereithält.
Die CD erscheint im wertigen Digisleeve, das Vinyl kommt klassisch schwarz!

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke’s monumental return to Kompakt since his Zug um Zug two-tracker in 2014.

Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalising glimpse of Funke's freaky underworld. E_Plus follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody — a solid offering oddball of energy. On Alles Paletti, a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track Haus More is subdued, as chugging drums slither between a wobbly melody. The Other Version feels futuristic, as Funke goes full-force electro. Extra-terrestrial vocals return, but the pace is cranked up by strident sound FX and thudding drums. An eccentric end to an eccentric EP.

Sascha Funke is a Berlin-based producer and DJ with two decades' worth of releases building his back catalogue. BPitch Control, Turbo Recordings, Endless Flight, Running Back, and several more esteemed imprints have released his work. Today, he continues to create sleek sounds that weave various genres from house, techno, disco, Krautrock, wave, electro and unclassified anomalies. As a DJ, Funke is just as free-wheeling as his productions. He's played E1 in London, Caos in São Paulo and Renate in Berlin, amongst others, displaying his sweeping sound to a worldwide audience. Having been exposed to euro-dance pop as a youngster, you can hear flashes from the genre stitched throughout his work but blended in a way that's quintessential to Funke. Never one to change his sound according to the latest trend, Funke stays true to his creative vision — one of the most significant challenges for producers today.

Das traditionsreiche Kompakt-Imprint wird im September eine EP des deutschen DJs und Produzenten Sascha Funke veröffentlichen. Mit fünf Tracks, die sich durch schrulligen House und Techno auszeichnen, ist “Treets” Funkes monumentale Rückkehr zu Kompakt seit “ Zug um Zug” im Jahr 2014.

Im Gespräch über Treets sagt Funke, er sei "sehr glücklich, nach acht Jahren Pause wieder auf dem Mutterschiff Kompakt zu sein". Wie bei Funke nicht anders zu erwarten, passt die EP hervorragend in die kosmische Welt von Kompakt. Der Titeltrack vermittelt eine seltsame, abgedrehte Atmosphäre, wenn eine außerirdisch anmutende Stimme zwischen einer Acid-Bassline und quietschenden Perkussionsinstrumenten dahinplätschert. Es ist ein verlockender Einblick in Funkes freakige Unterwelt. “E-Plus” geht in eine ähnliche Richtung, nur dass dieses Mal die Stimmung bedrohlich ist. Funke paart einen orchestralen Gesang mit bleepigen Pads und seiner typischen Acid-getränkten Melodie - ein solides Angebot voller Energie. Auf “Alles Paletti” schaffen ein 2-Step-Drum-Pattern und eine Reihe heller Claps eine sonnige Klanglandschaft, die durch eine robuste Bassline und ätherische Synthesizernoten ergänzt wird. Das ist märchenhafte House-Musik, wie sie nur Funke produzieren kann. Der vorletzte Track Haus More ist zurückhaltend, da tuckernde Drums zwischen einer wackeligen Melodie schlittern. “Treets (The Other Version)” fühlt sich futuristisch an, weil Funke hier voll auf Elektro setzt. Der außerirdische Gesang kehrt zurück, aber das Tempo wird durch schrille Soundeffekte und stampfende Drums angezogen. Ein exzentrisches Ende für eine exzentrische EP.

Sascha Funke ist ein in Berlin ansässiger Produzent und DJ mit einem Backkatalog von zwei Jahrzehnten an Veröffentlichungen. BPitch Control, Turbo Recordings, Endless Flight, Running Back und einige andere angesehene Labels haben seine Arbeiten veröffentlicht. Heute kreiert er weiterhin geschmeidige Sounds, die verschiedene Genres wie House, Techno, Disco, Krautrock, Wave, Electro und unklassifizierte Anomalien miteinander verweben. Als DJ ist Funke genauso freizügig wie seine Produktionen. Er hat unter anderem im E1 in London, im Caos in São Paulo und im Renate in Berlin aufgelegt und seinen mitreißenden Sound einem weltweiten Publikum vorgestellt. Da er schon als Jugendlicher mit Eurodance in Berührung kam, sind in seiner Arbeit immer wieder Anklänge an dieses Genre zu hören, die aber auf eine Art und Weise vermischt werden, die ganz typisch für Funke ist. Niemals verändert Funke seinen Sound nach dem neuesten Trend, sondern bleibt seiner kreativen Vision treu - eine der größten Herausforderungen für Produzenten heutzutage.

2002-2022, that’s 20 years of Pingipung! The German record label celebrates its anniversary with exclusive tracks by a fine selection of artists from the label roster as well as new names. Instead of looking back at the classics, Pingipung chose to compile a kaleidoscopic preview of possible future directions for the label. The line-up features playfully melancholic songs by Museum Of No Art, Peter Power or The Notwist, an excursion to the desert by RVDS or a psychedelic take on Dub in Tolouse Low Trax’ remix for the Ainu singer Umeko Ando. Artists such as Anadol, Y Bülbül, MD Pallavi & Andi Otto, M.RUX, Sven Kacirek, Schlammpeitziger, Peter Presto and F.S.Blumm are already well known to the Pingipung audience. They contribute exclusive new tracks, adding to their existing output on the label.

It’s impossible to file this compilation under a genre, which is exactly the case with Pingipung in general - bull’s eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: A 2x10’’ vinyl in a gatefold sleeve.

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

ORIGINAL RELEASE: 1984!
Und wieder buddeln Golden Core eine vergessene Perle
aus dem German Metal Underground, auch wenn das Wort
Hardrock hier ebenso angebracht wäre. 1984 veröffentlichte
die Band STARSTRUCK aus Karlsruhe ihr einziges
Lebenszeichen: Die LP „Thru´ To You“. Damit war man
regional nicht weit weg von GAMA Records, die ihren Sitz in
Kirchheim/Teck hatten und das Potenzial der lokal bereits
angesagten Gruppe erkannten. Aufgenommen wurde die Platte
im Spygel Studio mit Engineer Batze Kramer. Eben dieser hat
auch kultige Scheiben von Bands wie Tyrant, Stormwitch,
Bloody Six, Vampyr, Gravestone, Restless oder Necronomicon
veredelt. „Thru´ To You“ ist purer Zeitgeist und dazu passt
auch das Cover, welches beim genauen Hinschauen viel
Humor beweist.
Karlsruhe, Stuttgart, Heidelberg – melodischer Heavy Metal
war in diesem Großraum immer schon mehr angesagt als im
Ruhrgebiet oder im Norden. Nur München wurde noch bekannt
für seinen Hang zum AOR. Starstruck balancieren geschickt
den Mittelweg zwischen Härte und Radiofreundlichkeit, was
bei den gut arrangierten Songs und dem spielerischen Können
hätte zum Erfolgsrezept werden können. Leider war die Firma
GAMA nicht in der Lage, das Album adäquat zu promoten.
Immerhin wurde es ein Jahr später von Mausoleum (Belgien)
lizensiert, 1990 kam es dann auch erstmals auf CD (Aurophon,
in der Brainstorm Serie, die Sammler nur zu gut kennen).
Letztere Version kann man heute nicht mehr unter 70 Euro
(siehe Discogs) bekommen…
Golden Core machten auf Starstruck bereits 2021
aufmerksam, denn sie sind mit einem Track auf der
Compilation „The Best And The Rare Of GAMA Records“ zu
finden. Zum ersten Mal gibt es nun eine remasterte Version
des kultigen Albums auf CD, später im Jahr auch auf Vinyl.
Auch wenn die weniger bekannten Bands des GAMA-Kataloges
von Einigen immer noch belächelt werden…in den letzten
Jahren hat sich gerade in Südamerika und Osteuropa eine
große Fanbase in diese Richtung entwickelt, aber auch
weltweit wird der hart rockende Sound der Achtziger geliebt
und gerne kopiert. Starstruck waren mittendrin!

FIRST PRESSING ON WHITE VINYL*Regenerator is the fifth full-length from the Rochester, New York-based trio King Buffalo.

Written and recorded by the band with mixing and engineering by guitarist/vocalist Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following 2021’s The Burden of Restlessness and
Acheron.

Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s
debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson continue to explore the outer reaches of modern psychedelic
music, melding progressive rhythms, drifting atmospheres and
accompanying surges of electricity, this new collection only further establishes them as one of the brightest lights shining in underground rock today.
As the third of three, Regenerator inherently ties together the previous two LPs, and as the band unfold the leadoff title-track across nine and halfminutes, it becomes clear just how truly they have marked out their own sonic presence.

The later melodic highlight “Mammoth” – with McVay’s most confident vocal performance yet – shimmers with hope that somehow doesn’t come across as desperate; on “Hours”, the group engages classic space rock, and the closing “Firmament” acts as a summary
for all three albums, marking the final installment of this trilogy as the
essential cornerstone of King Buffalo's work to date.

Regenerator is available on 180.gr white vinyl (including download) and CD.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”