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Neue bezaubernde Metal-Horizonte

Das neue SinHeresy-Album “Event Horizon" unterstreicht den einzigartigen Sound von SinHeresy, der aus druckvollen, modernen Vibes, kraftvollem Riffing, fesselnden Atmosphären und unvergesslichen Melodien besteht. Jeder Song ist perfekt um die kristallklare Stimme von Cecilia Petrini und die starken Vocals von Stefano Sain herum aufgebaut, die sich von Zeit zu Zeit vermischen und duellieren, während die Rhythmen härter und dynamischer werden und einen Hauch von melodischen Metalcore-Einflüssen aufweisen.

Der atemberaubende Ritt über 10 Tracks führt den Hörer auf eine Reise ins Unbekannte und steht für die endlose Entdeckung der innersten Gefühle, Tugenden und Schwächen, die wir manchmal sogar vor uns selbst verbergen.

With 15 tracks of pure pop perfection, “Feed The Beast” moves beyond the characters found in Kim’s past music to draw more from her personal life and is a declaration about being willing to be consumed by her biggest passion. With pop music as her driving force, the album is Kim’s offering to her own beast that sees her embody a modern-day pop Andromeda – a spin on the classic Greek tale where the princess was about to be sacrificed to her beast. Unlike the tale, however, Kim has set out to rescue herself with a body of work that is heavily inspired by the euphoric Eurodance hits that she would lose herself in growing up.

With 15 tracks of pure pop perfection, “Feed The Beast” moves beyond the characters found in Kim’s past music to draw more from her personal life and is a declaration about being willing to be consumed by her biggest passion. With pop music as her driving force, the album is Kim’s offering to her own beast that sees her embody a modern-day pop Andromeda – a spin on the classic Greek tale where the princess was about to be sacrificed to her beast. Unlike the tale, however, Kim has set out to rescue herself with a body of work that is heavily inspired by the euphoric Eurodance hits that she would lose herself in growing up.

The Undertones formed in Derry, Northern Ireland, in 1975 and released their third album ‘Positive Touch’ in 1981 which peaked at #17 in the UK Charts.

The Undertones' Positive Touch marks the departure from speedy pop-punk of their first two debut albums though the songwriting remains as tight and lively with plenty of hooks that keep you listening.

The punk-derived energy is almost entirely gone, replaced by a more varied and softer instrumental palette that features new textures like piano (courtesy of Paul Carrack, then in Squeeze) recorders and brass instrumentation.

Features the lovely "Julie Ocean" which has an undercurrent of anxiety, as well as much faster tracks like the pounding opener "Fascination" and the near-paranoid "His Goodlooking Girlfriend" are downright nerve-wracking.

This reissue is an exact replica of the embossed original sleeve and has been pressed on white colour vinyl for the first time.

Unhuman & Petra Flurr is the collaborative synthpunk-technoid project of BITE label stalwart, Berlin-based Greek artist Unhuman and legendary queer wave figure Petra Flurr. 'Mala Vida' is their debut album on BITE that further evolves their sound beyond genre borders. The duo deliver an 8-track LP consisting of punk body music exhibiting the team's mastery on production, their androgynous vision and diverse influences. Petra Flurr's staggered, often effected, vocals cruise over pounding beats, bold iconic hooks and psychedelic atmospheres. His lyrics reference the seedy underbelly of Berlin's sex underground. Meanwhile, Unhuman's productions broadly range from the post-punk references of 'Labyrinth' to the new beat grooves of 'Short Life' featuring Ukrainian duo Garden Krist to the melodic orchestrations of 'Rush'. All this is reinterpreted by techno duo New Frames on a digital remix of 'Unzivilisiert'. 'Mala Vida' is a direct inspiration from their debut performance at Berghain for last year's BITE label night. After which, they swiftly retreated to the studio to compose, still in their platform heels. The two paint a coat of neon red over their preexisting batcave of sound. While the artwork by Liam Noonan compliments the gender fluidness of the album, distorting and digitally manipulating images of the creators themselves. Using heavy rhythmics, wavy mandates, an androgynous stare and unavoidable sexuality, Unhuman & Petra Flurr introduce us to their culled brand of queer death techno. Always with a wink.

Das bislang poppigste Album des Grammy-Abstaubers 2022 (u.a. für ”Best Album”)! Was macht man nach dem Gewinn eines Oscars, eines Golden Globes und von fünf Grammys in einem Jahr? Jon Batiste hat kurz durchgeatmet und ein energiegeladenes neues Album aufgenommen, das sich in keine Genre-Schublade einsortieren lässt. „World Music Radio“ heißt sein neues Albumprojekt. Für den einst als Jazzpianist und -Sänger bekannt gewordenen Musiker ist es das bisher Pop-orientierteste Album geworden. Als Gäste lud er u.a. Jon Bellion, Lil Wayne, Lana Del Rey, Kenny G, Fireboy Dml, J.I.D, Camilo und Newjeans dazu ein. Der Ohrwurm „Be Who You Are“, aufgenommen für Coke Studio, hat bereits seinen Siegeszug um die Welt angetreten. „World Music Radio“ ist eine quirlige, überbordende Mischung aus groovigen Sounds aller musikalischer Richtungen und aus allen Winkeln der Welt. Batiste: „Viel zu viel Musik versucht sich heutzutage in eine Schublade einzufügen. Auf meiner Reise lade ich die Zuhörer ein, all das loszulassen.“
Und das macht Riesenspaß!

Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious

Joel Paterson has been a mainstay of the Chicago roots music scene for
over twenty years, playing with many bands and showcasing his unique
blend jazz, blues, rockabilly, country and western swing
'Wheelhouse Rag' is a 14- track collection of original rags and country blues on
solo, finger picking acoustic guitar.
The all- acoustic, 1920's- tinged 'Wheelhouse Rag' may at first seem like a
departure in genre for the guitarist - he is predominantly known for his
instrumental multitracked recordings reminiscent of Les Paul and Chet Atkins -
Joel learned to play guitar by ear from the records of acoustic legends such as
Blind Blake, Robert Johnson, Reverend Gary Davis, and Big Bill Broonzy. He later
expanded his repertoire to include techniques of the thumb-picking giants Merle
Travis and Chet Atkins. These influences can be heard throughout the album,
mixed in with many more twists and turns from the mind of the artist, to bring
you, 'Wheelhouse Rag:' the original fingerstyle guitar instrumentals of Joel
Paterson.
Original fingerstyle guitar rag and country blues instrumentals by in-demand
Chicago roots guitarist Joel Paterson, who has played with Cactus Blossoms, JD
McPherson, Kelley Hogan, and more, bringing his unique blend of jazz, blues,
rockabilly, and country & western style to the mix.
RIYL: Les Paul, Chet Atkins, Reverend Gary Davis, Cactus Blossoms, Pokey
LaFarge, Merle Travis
"Guitarist Paterson's free-ranging music defies easy categorization. He addresses
classic country, blues and Tin Pan Alley tunes as timeless works that reward
repeated listening." - Howard Reich, Chicago Tribune"Of all the "vintage" artists
injecting new life into bygone styles with originality and a sense of humor, Joel
Paterson just might top the list." - Dan Forte, Vintage Guitar Magazine

Remastered with extra tracks - extra disc also includes Sound Sun Pleasure LP. Features the original space nymph cover art, which only appeared in cropped and washedout reproductions on an early 60s version. Cosmic Myth Records is dedicated to issuing remastered and fully authorized out of print titles from Sun Ra's independent Saturn Records catalog. Sun Ra's Jazz in Silhouette was enshrined in the Penguin Jazz Guide's "Core Collection" as an album that "will someday be recognized as one of the most important post-war jazz records." Jazz in Silhouette is the quintessential record of Sun Ra's late 1950s Chicago period. Recorded and issued in 1959, it marks a coda for the bandleader's bebop/hard-bop stage, as his interstellar traveller persona began to transform the band (and the music). It also charts the future, showcasing the brilliant tenor sax stylings of John Gilmore, and introduces the iconic playing of Arkestra mainstays Marshall Allen, Pat Patrick, and Ronnie Boykins. Many of the early works on these recordings would remain staples in Arkestra set lists for the rest of Sun Ra's life. This expanded edition includes the complete, contemporaneous Sound Sun Pleasure, rare stereo mixes, and bonus tracks.

Repress!

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.

The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".

First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.

The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.

Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

Repress!

‘Make The Call’ comes with an extended version and remixes from the legendary Two Soul Fusion duo of Louie Vega and Josh Milan. These remixes bring something new and special to the track with each creating a subtly different mood for the dance floor, for the radio and for the house party.

MF Robots is a songwriting, production and performing duo created by former Brand New Heavies founder Jan Kincaid and BNH vocalist and multi-instrumentalist Dawn Joseph. The pair left the Heavies in 2014 to record their own compositions and have been wowing audiences and record buyers with their effortless blending of Soul, RnB, Funk, Disco and Jazz ever since.

Louie Vega is one half of the House music dons Masters at Work and Josh Milan is a Grammy nominated vocalist, musician and composer who also collaborate in Vega’s collective ‘Elements of Life’. With both at the forefront of production, composition and remixing for more than three decades, the House, Boogie and Instrumental versions they have produced for ‘Make the Call’ are off the scale here.

First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts

enabling him to become the most special agent of W.I.N. (World Intelligence Network).

Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways

the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,

with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.

It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.

For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility

and a more mature musical palette which are amply illustrated in this 24 track collection.

Die britischen Alleskönner ”easy life” melden sich, nach einer kurzen Schaffenspause, mit Ihrem zweiten und brandneuen Studioalbum ”MAYBE IN ANOTHER LIFE” zurück. Die Songs setzen einen neuen Maßstab in der bereits erfolgsgeprägten Karriere der Leicester Band und bieten den Fans einen ausgewogenen Mix aus Melancholie und Feel-Good-Songs.

Auch die, von den Fans geschätzte, hedonistische Attitüde der ”easy life-Jungs” ist im neuen Album wiederzufinden. Dieses Mal allerdings gepaart mit einer zutiefst ehrlichen, aber auch messerscharfen Re-
flexion des Alltags in Großbritannien.

Eine weltenübergreifende Kollaboration zwischen Kevin Abstract (BROOKHAMPTON) und dem ”easy life”-Quintett lieferte schließlich den Grundbaustein für ”MAYBE IN ANOTHER LIFE”. Der Albumtitel
beschreibt eine sehnsüchtige und unerwiderte Liebeserfahrung zwischen Schüler und Lehrer: ”maybe in another life, we could try to roll the dice, and get it right”.

Die britischen Alleskönner ”easy life” melden sich, nach einer kurzen Schaffenspause, mit Ihrem zweiten und brandneuen Studioalbum ”MAYBE IN ANOTHER LIFE” zurück. Die Songs setzen einen neuen Maßstab in der bereits erfolgsgeprägten Karriere der Leicester Band und bieten den Fans einen ausgewogenen Mix aus Melancholie und Feel-Good-Songs.

Auch die, von den Fans geschätzte, hedonistische Attitüde der ”easy life-Jungs” ist im neuen Album wiederzufinden. Dieses Mal allerdings gepaart mit einer zutiefst ehrlichen, aber auch messerscharfen Re-
flexion des Alltags in Großbritannien.

Eine weltenübergreifende Kollaboration zwischen Kevin Abstract (BROOKHAMPTON) und dem ”easy life”-Quintett lieferte schließlich den Grundbaustein für ”MAYBE IN ANOTHER LIFE”. Der Albumtitel
beschreibt eine sehnsüchtige und unerwiderte Liebeserfahrung zwischen Schüler und Lehrer: ”maybe in another life, we could try to roll the dice, and get it right”.

Die britischen Alleskönner ”easy life” melden sich, nach einer kurzen Schaffenspause, mit Ihrem zweiten und brandneuen Studioalbum ”MAYBE IN ANOTHER LIFE” zurück. Die Songs setzen einen neuen Maßstab in der bereits erfolgsgeprägten Karriere der Leicester Band und bieten den Fans einen ausgewogenen Mix aus Melancholie und Feel-Good-Songs.

Auch die, von den Fans geschätzte, hedonistische Attitüde der ”easy life-Jungs” ist im neuen Album wiederzufinden. Dieses Mal allerdings gepaart mit einer zutiefst ehrlichen, aber auch messerscharfen Re-
flexion des Alltags in Großbritannien.

Eine weltenübergreifende Kollaboration zwischen Kevin Abstract (BROOKHAMPTON) und dem ”easy life”-Quintett lieferte schließlich den Grundbaustein für ”MAYBE IN ANOTHER LIFE”. Der Albumtitel
beschreibt eine sehnsüchtige und unerwiderte Liebeserfahrung zwischen Schüler und Lehrer: ”maybe in another life, we could try to roll the dice, and get it right”.

Dutch multi-instrumentalist Felbm returns with the conceptual album "cycli infini" : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process. The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert.

"The openness of Laraaji"s and Satie"s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit", says Felbm, real name Eelco Topper. While Topper"s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed. The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: "the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here... just in different shapes."

Paper Route Frank is the first posthumous studio album from legendary Memphis, TN figurehead, rapper and mogul, Young Dolph. Gone from us way too soon, the album serves as a testament to the larger than life person and leader that Dolph was, illustrated in tracks such as “Hall of Fame,” “Get Away,” & “Love For The Streets.”

At 13 tracks, the album features appearances from PRE labelmates Key Glock, Big Moochie Grape & Snupe Bandz, and taps heavyweight guests in 2 Chainz & longtime collaborator Gucci Mane, who in many ways helped provide the blueprint for Dolph’s own illustrious career. A truly independent foundation in the rap game and unquestionably one of one individual, we may never see another artist like Young Dolph. Long Live Dolph Forever.

Lisa Batiashvili gathers all the places and memories that have been important in her life and career together with some of the world’s most beautiful music. A journey from her native Georgia to Paris, Berlin, Buenos Aires and Hollywood that features ground-breaking collaborations with artists as diverse as Miloš, Katie Melua and Till Brönner. City Lights shares the beautiful melodies from Cinema Paradiso and Chaplin’s own compositions with all time classics from Piazzolla, J.S. Bach and the late Michel Legrand - all in new arrangements by Nikoloz Rachveli - and last, but not least a new song by Katie Melua about the magic of London. This Special Edition of Lisa Batiashvili’s City Lights combines the most popular music from her latest album on a 10 inch vinyl. Including a brand new track: Desafinando recorded with the Georgian Philharmonic Orchestra in July 2021.