Suche:lōn

Six Songs With the Devil", das brutale Demo von DESTROYER 666 aus dem Jahr 1994, ist bis heute das bösartigste Stück Black Metal, das je aus Australien kam. Jeder Track ist ein atemberaubender Ritt voller Lautstärke und Gewalt, und diese Aufnahme gab den Ton für die Karriere einer der berüchtigtsten und kompromisslosesten Metal-Bands an. Dieser wahre Underground-Klassiker ist nun wieder über die langjährige Heimat der Band, Season of Mist, erhältlich.

The legendary Tru Comers release their first instrumental double album "Avantgarde"! On the album you can expect over 60 minutes of finest productions which will not only excite all lovers of the CominTru sound. The music on this album reaches deep and sweeps the listener along from the first minute. This project is a must have! Get your vinyl copy now!

Born from the fractal innerworld of Vymethoxy Redspiders,
better known as Urocerus Gigas from Leeds-based xenofeminist
crisis energy rock duo Guttersnipe, The Ephemeron Loop's
debut is a synaesthetic acid bath that cracks open the doors of
perception to reveal a sonic landscape of ineffable beauty,
divine femininity and continual transformation.

"PsychonauticEscapism" sublimes Guttersnipe's teeth-gnashing spacegrindaesthetic leaving washes of dream pop ambience, dilated
speedcore fusillades and shapeshifting psychedelic dub effects.

It's an album that lodges itself creatively between Cocteau
Twins, Arca, Basic Channel and Napalm Death, lysergically
fluxing imperceptibly between seemingly contradictory sonics
and philosophies. Miss VR took 14 long, difficult years to write
the album, which developed cautiously as she broke through
the misery of her pre-transition life with shoegaze music, rave
and psychedelic drugs in Leeds' queer underground. An
existence languishing in negativity, soundtracked by extreme
music was replaced with the opportunity to experience
euphoria, elation and ecstatic freedom, emotions that coalesce
sensually on "Psychonautic Escapism".

These formativeexperiences are the album's initial building blocks, assembled between 2007 and 2018 as Miss VR came to grips with her
reality as an autistic/ADHD trans woman and the multidimensional psychotropic experiences that assisted that realization. And as V's worldview expanded and shifted as she lived a fresh life, the music itself developed spiritually. In 2018,after being impressed with producer Ross Halden's work with Guttersnipe, Miss VR asked him to assist her with developing The Ephemeron Loop's fragmented songs and visions. "I learned a lot about why people don't usually combine various kinds of sounds or styles in music," she admits. "It is very difficult to get it to all work together!" But after two-and-a-half years of the duo navigating a "labyrinth of fragmented Reason 5 and Logic
projects," re-recording and processing, and working tirelessly on
complex arrangements and compositions, they eventually found
a light at the end of the tunnel. The finished album is towering
and ambitious, Escher-like in its illusory reconstruction of
familiar elements into brain-altering forms. The album begins
with 'Psychonautic Escapism (Cold Alienation)', decorating Miss
VR's disembodied moans with throbbing dub techno synths,
insectoid digital percussion and disorientating high-BPM
electronics.

Her vocals hover weightlessly between My Bloody Valentine's Bilinda Butcher and Cocteau Twins' Elizabeth Fraser, and on 'Lattice Dysmorphism of Lysothymic Oneiroid Cytoterrain' drift against grinding industrial hardcore kicks, serrated bass and Lorenzo Senni-esque trance pointillism. On 'Trench Through Pink Death', Miss VR's voice mutates into a shrill scream as she directs the music from splattered freeflowing doom into harsh hyper-speed death metal and
breakcore. Woven together with both precision and delicacy, "Psychonautic Escapism" turns a rough patchwork of ideas,
experiences, feelings and vivid emotions into a glorious neon
tapestry. In living and exploring the realities of autism, ADHD
and trans identity, Vymethoxy Redspiders has masterminded a
sonic language that feels fresh, urgent and shockingly honest.
Psychedelic is a term that gets thrown around far too loosely at
the moment - in this case there's just no better way of
describing the album's scope.

Back in 2018, two mysterious twelve-inch singles appeared in underground record sthops. Credited to Blotter Trax, a previously unknown outfit who cherished “faceless” anonymity, the pleasingly twisted and mind-altering music on show was a mutant form of electronic psychedelia. The included tracks were variously informed by analogue techno, acid, electro and minimal, but inhabited their own clandestine sonic space. These tracks were, we later discovered, lightly edited “straight to tape” jams, crafted on the fly by their creators in one of Berlin’s most admired studios.

By the time Blotter Trax delivered their follow-up on Clone offshoot Frustrated Funk a year later, the secret was out: the project was in fact a collaboration between two storied artists, techno titan Magda – a DJ/producer who should need little introduction – and serial underground aggravator (and man of many aliases) Jay Ahern, sometime Hauntologists member and acid techno royalty thanks to years spent releasing similarly shadowy EPs as T.B Arthur.

In the years that followed, and before the COVID-19 pandemic grounded them in Berlin, the pair took their incendiary, modular-driven live show to esteemed clubland institutions (Fabric included), on an acclaimed tour of Japan, and onto the stages of festivals across Europe.

Four years on from that appearance on Frustrated Funk, Blotter Trax are back in updated and expanded form. Now a trio thanks to the addition of bassist Hannes Strobl, the band is set to release their far-sighted, funk-fuelled debut album, Super Conductor – a pulsating, thrill-in-minute ride includes contributions from a swathe of notable guests (Nina Hynes, Ilhem Khodja and David Moss provided vocals, Shigeru Tanabu played guitar, Matthew Styles mixed the set and old friend John Tejada mastered it).

While rooted in electro and acid, the album is impressively low-slung, stylish and funky, with nods towards Blotter Trax’s mutual love of Arthur Russell, early ‘80s NYC downtown disco, leftfield new-wave pop and flash-fried punk-funk. Released by JD Twitch’s Optimo Music imprint, it charts the ongoing dancefloor evolution of a band whose days of mystery and mischief are now a distant memory.

Apparently Unaffected is the third album by the Norwegian singer-songwriter Maria Mena. It was especially popular in the Netherlands where three of the album's singles made it in Dutch chart listings, including "Miss You Love", "Just Hold Me" and "Our Battles". The album was produced by Arvid Solvang, who also worked on previous albums by Maria Mena.

Robin Saville - one half of the influential duo ISAN - returns to Morr Music with »Lore«, his fourth solo album to date. After 2020’s »Build A Diorama«, the British musician takes his love for field recordings, whirring pads, hovering bells and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focussing on biological diversity and its implications for human life.

For many years now, ›look and listen‹ has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colours and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. »The field recordings on the album were made very locally this time, for obvious reasons,« he says. Welcome to the sonic landscape of the UK's East Anglia.

»Judith Avenue«, the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: »It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore.«

Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP »Build A Diorama«, »Lore« is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterised by an ever present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Saville enriches our lives musically by addressing the very issues we often ignore. At the same time, he becomes an agent of hope and change. Moving between light and dark, »Lore« is a musical allegory of where we stand today.

»The album is a document of places and times and while it is certainly a celebration of those things, it is also a record of things we are losing. That's how interaction with nature feels to me nowadays: something precious and amazing, but with an underlying sadness about the destructive relationship that humanity seems inevitably to have with the world around it.«

Let's not lose any more things.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

Der 3. April 2022 war ein sehr trauriger Tag in der Welt des Punk, der Mode und darüber hinaus. Eine Ikone ist viel zu früh von uns gegangen, aber sie wird aufgrund ihres Vermächtnisses nie vergessen werden. Der Name "Jordan Mooney" war der Stoff, aus dem Legenden gemacht sind! Sie ist "dabei gewesen, hatte es gesehen, hatte es getan", in einer ganzen Reihe von unterschiedlichen Bereichen, vom Balletttanz bis zum Live-Auftritt von Ziggy und dem Treffen mit dem großen Mann; vom Punk sein und aussehen, bevor es Punk überhaupt gab; vom Miterleben der Gründung der Sex Pistols direkt vor ihren Augen zusammen mit Malcolm und Vivienne; von der Schauspielerei in zukunftsweisenden Filmen; vom Scherzen mit Andy Warhol; vom Management von Adam & The Ants und der kurzen Heirat mit einem von ihnen; und von der späteren Karriere als Tierkrankenschwester. Jordan hat in ihren knappen 66 Jahren viel erreicht, aber was auch immer sie anpackte, sie tat es mit vollem Einsatz. Jordan war sich selbst und anderen treu und genoss das Vertrauen all derer, die das Vergnügen hatten, sie zu kennen und zu treffen. Am Sonntag, dem 29. Mai 2022, versammelten sich Hunderte von Menschen in Brighton zum "Official Jordan Mooney Charity Memorial Concert", um das Leben dieser wirklich bemerkenswerten Frau zu feiern. Einige waren aus Japan, Deutschland und anderen Ländern angereist, nur um an diesem besonderen Tag teilzunehmen. An diesem Tag waren alte und neue Freunde unter einem Dach versammelt, um den perfekten Abschied zu feiern. Jordan kannte Captain "Cheers me dears!" Sensible seit etwa fünf Jahrzehnten, und während der letzten heiligen Monate ihres Lebens hatte sie einen Johnny-Moped-Song als Ohrwurm im Kopf, den sie und ich uns gegenseitig freudig vorsangen: "Darling, let's have another baby; Let's make one soon on our second honeymoon...". Es war nur logisch, dass Captain Sensible in Erinnerung an Jordan noch einmal mit seinen alten Kumpels, Johnny Moped, aufsatteln würde. Ein Teil der Veranstaltung wurde aufgezeichnet, und so, meine Damen und Herren, präsentieren wir Ihnen voller Stolz diese Wohltätigkeitsaufnahme! Viel Spaß! (Jordans Partner - Nick Linazasoro)

Monkey is the second single by The Rellies since releasing 'Isabella is Annoying/ Brainwaves' in 2020. Ryan, guitarist and dual singer and songwriter for the band describes the making of 'Monkey' during lockdown with his brother Riley. "During covid we got very bored. Originally, we wanted to get our Monkeys and run them over with our dad's car, but we settled for filming them falling down the stairs and writing a song about it. When the other members of band finally heard the song, they liked the Monkey and then we made a clip with our friends and some TV monkeys. Everyone sang 'I like the Monkey' and soon everyone liked the Monkey!" Helicopter is Ryan's sonic representation of "hunks of steel flying through the sky. I'm an aviation nerd." He doesn't disappoint. Helicopter's opening riff is catchy and travels. Ryan's vocal powers through the song and the background vocals from kid brother Riley kicks it up a notch as he improvises his way through the chorus begging for a ride. The Rellies ages range from 13-16 and developed at Kings Cross Conservatorium. The brothers began writing and recording at age 9 and 11 respectively and doing shows as The Rellies in 2018 with Jarlath Kiernan on drums. In 2021, the band replaced guitarist Aiden Burke with Lachlan Knight when Aiden decided rehearsal was too loud. Ryan: "We love the Beatles but lately we've got more of a punk energy in our songs. Also, Riley likes a lot of different stuff like Tyler the Creator... his lyrics are inspiring us to be creative with humour."

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Sunna Margrét releases 'Five Songs for Swimming' out on No Salad Records. It is the first release since her award winning EP 'Art of History' that won the annual Kraumur award in 2019 and was twice nominated at the Iceland Music Awards for best song and best album of the year.

'Five Songs for Swimming' includes 5 original songs and a cover. They follow a continuous thread of water and flow and yet Sunna Margre?t keeps close to her influences of bizarre human interactions, present in her lyrics throughout the EP and borrowing the words of New York legends the Feelies on the last song 'When To Go' cover.

It is safe to say that the new release comes to life after loss occurs. This composition of music and lyrics is written in memory of Sunna Margre?t's grandmother, Unnur A?gu?stsdo?ttir, who passed away in February 2021. She was a swimmer in her early life, a champion in Iceland in the 40's, as well as a soprano singer, teacher, bird lover and lifelong inspiration.

Panthera returns to Bordello, their identity still shrouded in secrecy.

Following on from the four tracks of Synthesizer Hits, this unknown entity is back with a further quarter for Synthesizer Hits Vol. 2. Rich melodies and pulsing percussion characterise the infectious “Demon.” Key shifts and samples linger as textured toms and crisp snares keep the energy high. The tempo lowers for the considered “Stallion.” Bright and hopeful bars ascend before breaking to shimmering dawn. The juddering arpeggios and drum rolls of “Newlook” draw us back to the dancefloor. Melodies glow overhead in this celestial composition. The finale is steeped in the unforgettable tradition of italo. A heartwarming tribute to spaghetti dance, Panthera delivers an addictive rift, sparking synthwork and rhythms that are crisp. A perfect end by an artist who is garnering deserved attention amongst the faithful.

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

Kalita are delighted to announce the first ever re-release of Los Angeles-based outfit Addmoro’s three sought-after recordings from their privately released invisible 1985 boogie grail ‘Keep On Trying’. With original copies of the album out of reach for all but a select few since its initial release over thirty-five years ago, this is a much overdue retrospective of the group’s musical output.

Originally privately released on the group’s eponymous label Addmoro Records, Kalita’s 12” reissue single features both the vocal and instrumental versions of ‘Keep On Tryin’, plus the saxophone-featuring boogie monster ‘Rock & Roll Skate (Sax Version)’, arguably one of the heaviest boogie recordings of the genre.

With original copies of Addmoro’s album selling for over £600 on the rare occasion that they come up for sale, Kalita now deliver a loud and remastered 12” single for all.

History has proven that when the world is in flames, it ignites the empathetic artists to siren their words, music, and rhythm, to blanket our society"s fury and nurse scorched souls. The seemingly endless years of pandemic lockdown and social distancing, coupled with the turbulent plague of civil unrest and racial injustice, called on Vintage Trouble to step into their battle wear. Like so often before, they have spun records to drop onto the fighting grounds, with the intent to freeze the frame long enough to momentarily halt the warring world. And while at ease, we can freely choose to think before we strike or decide to retreat, rather than thoughtlessly charge into repeating history. This collection of heavy hymns is from the heart, and it provides a necessary rise to our ever reckoning.

The third Mollono.Bass Album is dedicated to what we need most. We as inhabitants of the same planet, we as members of a free society, and we as a culture. We have to stick together more than ever, rather than drifting further and further apart. At the same time, Together brings together everything Mollono.Bass stands for since more than 20 years: Ritualist Afro-influences and acid loops, the sensual physicality of House, the laid-back boost of Dub Techno, analogue depth and digital highs, hope transcribed into groove and utopia set into rhythmic motion. It’s the dynamic novelty and pioneering spirit of the arrangements that reflect the unmistakable signature style of this producer. True to the traditional idea of an album, complete with previously unreleased tracks and special versions, Together is a highly immersive listening experience from start to end and works beautifully on the dancefloor and far beyond it.

Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!

Ex Wiish is a fleeting dream. The new musical project of Ben Shirken, a sound artist and composer based in New York City.

Shirken is the founder of record label & performance series 29 Speedway which features improvisational electronic music, 4-point guerrilla sound installations, live multimedia performances and has hosted Robert Aiki Aubrey Lowe, Poncili Creación, Debit, Pent, James K and various other New York-based artists. Shirken also produces for and plays modular synths in acclaimed free jazz group ‘Nu Jazz’ with Dan Orlowski of electronic hardcore staple Deli Girls.

Their debut record, “Shards of Axel'', is out on Incienso June 23, 2023. Born from a story-based video game composition; the listener finds themselves as the disoriented main player respawned into a harrowing, metallic landscape, wandering through cable ridden labyrinths, caught in progress traps as digital noises grind past submerged cityscapes.

Cory Hanson"s third solo LP follows upon 2020"s luminescent Pale Horse Rider, upping the heat to molten levels, six strings at a time. In search of further adventures, Cory draws with vampiric glee from the madness coursing through the world outside; a spiraling shitshow that"s reawakened a compulsion in him - an old ambition, even! - to crush brutality and elegance together into a fresh set of rocks to hail down upon us. Western Cum is a high-stepping, hard-dancing, first love/heartbreak, tonight"s-the-night, future nostalgia kind of good time - the sound of guitars through the speakers of luxury cars. Like the dream you had once, alone, asleep in an amplifier, blasting Guns N" Roses through every last orifice in your body. And it"s coming through! Western Cum"s map to the treasure is less about pastiche, though; more toward executing the songs by executioner"s axe, rolling their decapitated rhythm heads and soaring melodies, the panoply of Cory"s melodic impulses with guitars, guitars, guitars. Harmony leads are just the tip of the iceberg, but be quick - the guitars like to melt everything in their path! The eight songs of Western Cum are driven by the stalwart bass of brother Casey Hanson and the drums of Evan Backer with a few passing acoustics from Cory and the intermittent spirit-moans of Tyler Nuffer"s steel guitar. The quartet sound - two guitars, bass and drums - acts as beat-making principle/phrasing device, as well as template for Cory"s layers of six-string and vocal textures. From the rooftop of their musical safe house - the band in their makeshift hut and Cory ensconced in an outhouse - they let loose with a blast both face-melting and mind-blowing: a social service that gives constipation a good name.

Black Duck captures a band already deeply in tune with one another. The three-piece super-group consists of Douglas McCombs, Charles Rumback, and Bill MacKay each has a distinct musical voice that is instantly recognizable, yet blends seamlessly with one another-their time performing together, playing to the moment and reading each other and the spaces they"re in formed a fluency between the trio which allows them to follow each other down winding paths and short tangents alike. McCombs is a founding member of Tortoise, Pullman, and Brokeback and the long-standing bassist for Eleventh Dream Day, an artist whose contribution to the music world can not be overstated. MacKay began releasing records in the early 2000s. He has released several acclaimed solo albums with Drag City as well as a duo album each with Nathan Bowles (Banjo, Black Twig Pickers), and Katinka Kleijn (Cello, Chicago Symphony Orchestra (CSO)), and two beloved records with Ryley Walker. Rumback burst onto the fertile Chicago improvised music scene in the early 2000"s. His fluid technique and expressive playing garnered him much attention. In addition to his solo releases, Rumback has recorded with Ryley Walker, jazz greats such as Jim Baker, James Singleton, and Greg Ward. Black Duck"s debut is a testament to that fluency, an expedition led by three veterans into alluring worlds bathed in myriad splendors. Black Duck is a gallery of sonic tapestries, unbound by any genre constraints. Black Duck redefines what two guitarists and a drummer can do, pieces move from breezy shuffles to stormy blues rumbles to gorgeous textural drones. Playing entirely improvised live sets for years helped develop the trio"s acute senses for one another, knowing precisely how to listen to the others and bolster whatever direction they move in. In the short time the trio have played together, they have performed at Big Ears Festival and alongside acts like Yo La Tengo.

Mental Cruelty sind zurück mit einem erstaunlichen neuen Line-Up und neuer Musik. Macht euch bereit für eine Reise in die dunkle und intensive Welt des Blackened Deathcore mit dem neuen Album von Mental Cruelty. "Zwielicht" bietet eine perfekte Mischung aus schnellen, aggressiven Drumbeats und schweren, knackigen Gitarrenriffs, zusammen mit bemerkenswerten Orchestrierungen, die dir den Atem rauben werden! Die tiefen, animalischen Growls und der brutale Gesang verleihen dieser ohnehin schon kraftvollen musikalischen Erfahrung eine zusätzliche Ebene der Intensität. Jeder Track auf diesem Album ist ein einzigartiges Meisterwerk, das eine explosive Mischung aus roher Energie, technischem Können und Emotionen bietet. Egal, ob du ein Fan von Deathcore, Black Metal oder einfach nur von schwerer, technischer Musik bist - "Zwielicht" wird mit Sicherheit eine herausragende Ergänzung deiner Sammlung sein. Gemischt und gemastert von dem einzigartigen Josh Schroeder (Lorna Shore, Ov Sulfur, Tallah, etc.). Mach Dich also bereit, Dich von der unerbittlichen Kraft von Mental Cruelty mitreißen zu lassen.

FullTime Production is honored to present the new vinyl of "Kano - Turn It Up/Unconditional Lover" featuring remixes by Danny Krivit, Les Inferno, FrescoEdits and Dr Packer! Pages and pages of music culture and clubbing packed into one vinyl! Danny Krivit the living history of a world that no longer exists and thanks to him we listen to its vibes and imagine dancefloors on the edge of the underground.

Dr Packer Australian artist who boasts major collaborations, has
released singles and albums for international labels and is also already featured in FullTime Production's catalog.

Les Inferno established Italian DJ and producer, mine of knowledge of
Italian clubbing and vinyl connoisseur of the afrobeat, funk and disco
genres.

FrescoEdits is an artistic project that has based its success from the
love and art of sampling big hits as well as a label and a community.

Nach dem Erfolg der ersten drei Alben 'White on blue', 'Secret Love' und 'Carousel' veröffentlichen Crossfade aus Schweden nun 'Innocent Days'. Herausgekommen ist ein tolles Rock-Album, das den charakteristischen Klang von Crossfade mit würzigen Zutaten von Toto, Steely Dan und den Eagles zu kombinieren weiß. Gemastered von Tony Cousins (Peter Gabriel), und das Artwork stammt von Steven Knee (David Gilmore). Jetzt erhältlich als LP.

*BLACK VINYL* Eight years in the making, Santa Cruz, California’s reclusive sons of tectonic riffage Mammatus return with Expanding Majesty, a sixty-nine minute magnum opus of kaleidoscopic guitars, soaring analog synths, wall-ofamps fuzz bass and one hundred feet drums. Four sidelong pieces unfold across a double album in unstoppable riffs that span the meditative and joyful un-earthed flight of ’70s kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of sub-surface thunder pioneered by Melvins and Sleep.

180g double LPs, 45 RPM. Hot off the back of this year's critically-acclaimed new album 'New York City', Brooklyn punk institution The Men are back already with a Fuzz Club Session album due out digitally and on limited double LP vinyl June 23rd. Recorded live to tape at Brooklyn's Serious Business Studio by Travis Harrison, the live session sees the Men storm through three tracks from 'New York City', one from 'Devil Music', a cover of English punk band Blitz and nine-brand new tracks that have never seen the light of the day until now, ranging from blistering noise-rock and cathartic rock'n'roll to lo-fi country-rock and hypnotising drones. This is the 20th release in the Fuzz Club Session series from London-based label Fuzz Club, which has previously hosted the likes of A Place To Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more.

Cécille has a long-standing history with Leon dating back to 2009 when he released his second career track. His mesmerizing production 'Rain in Rio' claimed the Nr.1 spot on Beatport in 2009 and earned esteemed recognition from Mixmag as one of the best tracks of the season.

Since then Leon has held prestigious residencies at iconic venues like Marco Carola's Music On Ibiza a residency he has maintained since its inception in 2012. Additionally he has captivated audiences at Cocoricò renowned as the most awarded club in Italy. Leon's talent and presence have left an enduring impact on the global music
scene.
Now, he returns to Cécille with some fabolus new club-cuts, accompanied by a remix from the highly acclaimed Manchester trio, Mason Collective. Known for their deep connection to the city's club culture, Mason Collective has been touring the globe with tremendous success, solidifying their position as one of the most dynamic acts
to emerge from Manchester in recent years turn in their interpretation of ‘Sissy’s Track’, extracting the core groove and soul of the original while stamping their own mark on things via intricately intertwined synth work, a murky bass groove and an overall bumpy house feel.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

As a member of seminal hip-hop group The Pharcyde, Fatlip helped expand the boundaries of the 1990s L.A. rap scene, releasing classic albums steeped in eccentric creative excursions rather than hard-edged gangsta bravado.

Following in those footsteps, acclaimed emcee Blu has been at the forefront of the independent hip-hop landscape since the late 2000s, narrating the full range of experience in the City of Angels with impressive lyrical ingenuity.

These two famed artists recently joined forces for the collaborative album Live From The End Of The World, a dazzling rhyme whirlwind boasting an overwhelming collection of West Coast lyrical talent, including Del The Funky Homosapien, Gift Of Gab, MC Eiht, and Ras Kass, along with members of iconic groups Jurassic 5, Tha Alkaholiks, Souls Of Mischief, Freestyle Fellowship, and Digital Underground. With production by Madlib, Nottz, Sa-Ra, Knxwledge, and Exile, the album is now available in physical form for the first time ever. This deluxe release includes two new bonus tracks featuring Slimkid3 (of The Pharcyde) and Pigeon John.

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground.

Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals.

That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now.

With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

Militarie Gun aus Los Angeles kündigen ihr Debütalbum ”Life Under The Gun” an, das am 23. Juni über Loma Vista Recordings erscheinen wird.

Außerdem kündigten Militarie Gun für den Juli zwei Deutschland-Shows mit Rival Schools an. Zuvor brechen sie zu einer Reihe von weiteren EU- & UK-Terminen auf, darunter eine bereits ausverkaufte Show in London.
Es ist fast unmöglich, ”Life Under The Gun” zu beschreiben, ohne sich in Widersprüche zu verstricken. Ist es ungewöhnlich aggressive Popmusik oder ist es ungewöhnlich eingängiger Hardcore? Ist es zutiefst intellektuell oder ist es befriedigend urwüchsig? Ist es ein verletzlicher Versuch, lebenslange Verletzungszyklen auszupacken, oder ist es eine Sammlung von weltbewegenden, absurden Punk-Hymnen? Die Antwort liegt auf der Hand: Es ist alles davon. Es ist Militarie Gun.

Gary Burton ist nicht nur der große Vibraphon-Innovator seiner Ära, sondern auch ein äußerst scharfsinniger Talentscout. 1973 stellte The New Quartet Abraham Laboriel vor: Dies war die erste Aufnahme des
Bassisten, der bald zu einem der gefragtesten Session-Spieler in allen Genres werden sollte. ”Es muss betont werden, dass Laboriel mit seiner erstaunlichen Bassarbeit wie ein zukünftiger großer Künstler klingt”, schrieb das britische Magazin Melody Maker seinerzeit. Auch Gitarrist Mick Goodrick entpuppte sich mit diesem Album als ein Musiker, den man im Auge behalten sollte. Er glänzte in einem wohl durchdachten Programm mit Kompositionen von Keith Jarrett, Chick Corea, Carla Bley, Mike Gibbs und Bandleader Burton.

Craft Recordings kündigt die Veröffentlichung von Go West! The Contemporary Records Albums an, eine neue 3-LP, die Sonny Rollins’ Schaffen für Lester Koenigs angesehenes Jazz-Label in Los Angeles erkundet.

Neu geschnitten von den analogen Originalbändern durch den GRAMMY®-gekrönten Tontechniker (und ehemaligen Contemporary Records Studio-Mitarbeiter) Bernie Grundman.

Bernie Grundman (ehemaliger Studioangestellter bei Contemporary Records) aus den analogen Originalbändern herausgeschnitten, präsentiert das 20-Track-Set zwei klassische Alben aus dem Katalog des legendären Saxophonisten: Way Out West (aufgenommen im März 1957) und Sonny Rollins and the Contemporary Leaders (Oktober 1958). Sechs alternative Aufnahmen, die aus beiden Alben stammen, bieten zusätzlichen Kontext. Ursprünglich 1986 auf dem lange vergriffenen Kompilationsalbum Contemporary Alternate Takes
veröffentlicht, ermöglichen diese Tracks den Zuhörern zu hören, wie Rollins und seine Mitmusiker ikonische Aufnahmen wie ”Way Out West” und ”Come, Gone” entwickeln.

Die 3-LP-Edition (gepresst auf 180-Gramm-Vinyl) erscheint am 23. Juni

The Great Divide ist das 50. Studioalbum des amerikanischen Country-Sängers Willie Nelson und wurde 2002 das erste Mal veröffentlicht. Es enthält mehrere Duette und musikalische Kollaborationen mit Künstlern wie Rob Thomas von Matchbox Twenty, Lee Ann Womack, Kid Rock, Sheryl Crow, Brian McKnight und Bonnie Raitt. Ausserdem erreichte es im Release Jahr Platz 43 der US-Billboard 200 Charts.

Ab dem 23.06.2023 als 1LP über die Universal Music Katalog erhältlich.

To mark its ten year anniversary, Mexican Summer presents a new, limited edition pressing of No Joy’s classic album Wait to Pleasure expanded with two new tracks from the beloved band's original line up. Wait To Pleasure is the product of the Montreal noise-pop band’s first foray in a fullyfurnished studio environment. Here the band has flourished, delivering their finest set to date, rooted heavily in shoegaze ripcurls and devastating melody, finishing sentences whispered long ago with depth, variance and force. Singer-guitarists Jasamine White-Gluz and Laura Lloyd and drummer Garland Hastings knock down the fence between nostalgiaand modernity, chaos and control, in a perfectly- realized effort made to bridge their uncompromised musical pasts with the alarmist tendencies of the present. Wait To Pleasure found No Joy set loose in Mexican Summer’s studio, Gary’s Electric, for two weeks in 2012, with producer Jorge Elbrecht at the helm. “Our earlier records are purely guitar-based, rock band lineups,” Laura adds, “and with Wait To Pleasure we seized the opportunity to change things up a bit.”

Florida Guilt, Bay Faction's second and final LP, saw the band expand their sound while maintaining a core of relatability and 20-something angst. The album blends the indie/emo guitar-based sound and hard hitting hooks of their cult classic debut with a slightly more minimalist approach and electronic elements. Long out of print, Counter Intuitive Records is once again teaming up with Bay Faction (their debut LP launched the label in 2015) to bring Florida Guilt back to vinyl alongside the first LP.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

DeathCollector started as a way of filling time during Covid lockdowns. Guitarist Mick Carey (Zealot Cult/Brigante) and drummer Andy Whale (Bolt Thrower/Darkened) kept busy working on classic & current metal covers with friends, which were shared across social media. After deciding to work on original material, vocalist Kieran Scott(Ashen Crown/Grimorte) and bassist Lee Cummings(Severe Lacerations/Bloodshed) came on board and DeathCollector was born. On the buzz surrounding the debut EP “Times Up”, DeathCollector was signed to Prosthetic Records, and work started on the debut full length album “Death’s Toll” started to take shape "The idea behind the band is to make honest straight forward music we like,its a mixture of Death Metal/Hardcore and Punk, the later of which has always been at the root of Death Metal music in the UK"

Lean In is the exquisite new studio album from GRAMMY-nominated singer Gretchen Parlato and globetrotting guitarist Lionel Loueke - an album that has been twenty years in the making. Meeting in New York City in the early 2000s the pair discovered that they shared an intimate musical bond, a beautiful seed which flowered in performances but was not expressed in the studio, until now! Individually they are internationally renowned, performing with the best of the best and developing a formidable reputation as prolific, creative and world-class Artists. Together they surpass the sum of their parts and form a partnership that is inspired and inspiring. Together Gretchen and Lionel invite you to lean in and join them in the celebration of their musical conjunction.

Sidekick is the evocative, uplifting and adventurous debut from London based producer and composer Chris Hyson. Chris's work as duo Snowpoet with vocalist Lauren Kinsella has earned him a formidable reputation as a producer with refreshing perspective and spot-on taste; his blending of sweet hook-laden vocal lines with warm and lush arrangements has sparked serious interest from many artists, most notably Jordan Rakei (Ninja Tune). Citing influences ranging from James Blake to Bjork and Radiohead, Chris' music is soaked with sun-drenched harmonies yet underwritten with darker sub-tones and a sense of melancholy that deeply enriches the music and emotional narrative. Powerful and compelling, Sidekick is a major new album with collaboration at its core, featuring incredible singers Frida Touray, Alison Sudol and Soren Bryce as well as instrumentalists Josh Arcoleo and Joe Webb.

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

Bei »24 Nights: Blues« handelt es sich um eine 2LP Standalone-Version aus dem »The Definitive 24 Nights« Boxset. Die Sammlung aus dem diese Version entstammt destilliert die Essenz aus Claptons Residencys in der Albert Hall von 1990-91, indem sie die besten Performances aus den Rock-, Blues- und Orchesterabenden zu den kompletten Konzerten für jedes dieser Genres versammelt.

»24 Nights: Blues« umfasst die Aufnahmen des Blueskonzerts. Beim Blueskonzert wurde Clapton durch die Special Guests Buddy Guy, Albert Colins und Robert Cray begleitet. Geboten wurde eine Meisterklasse des Genres mit glühenden Versionen von Standards wie »Key To The Highway«, »Sweet Home Chicago«, »Black Cat Bone« und »Reconsider Baby«.

Alex Lahey returns with her electrifying new album The Answer Is Always Yes. Across 10 new tracks, including singles ‘Good Time’, ‘Shit Talkin’’, ‘Congratulations’ and ‘They Wouldn’t Let Me In’, Lahey delivers her signature fun-loving fuzzy rock, examining how she finds comfort in the discomfort.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic progress. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

When I first heard Natalie Rose LeBrecht's time-suspending, air-ionizing music, more than twenty years ago, I thought "this kid is on to something." She's been proving that thought right ever since. Her recordings, from the teenage 4-track tapes she made as Greenpot Bluepot to the recent albums under her own name, have been fascinating dispatches from her progressively deeper dives into her gorgeous, weird, wildly idiomatic aesthetic. Holy Prana Open Game is a jewel of intensely personal cosmic music, created through a remarkable process of openness, craftiness, addition and subtraction. It belongs to a tradition of albums that document a rich, meditative sound as it rises up to join the world outside its creators' minds: Alice Coltrane's Universal Consciousness, Harmonia's Musik von Harmonia, Philip Glass's North Star, Talk Talk's Laughing Stock.

"Meditative" is specifically the idea here: Holy Prana Open Game had its origins in the fourteen days LeBrecht spent silently meditating in her home's small music room in the summer of 2019. "I came out of that bursting with the will to create new music," she says, and she created it sound-first. LeBrecht taught herself to program an analog synthesizer's timbres from scratch, and built a new set of glacial, heady compositions out of them, eventually singing to accompany the keyboard parts she was playing.

Then she closed her eyes at her computer, "let my mind be clear and open, imagined light pouring down through me, and began auto-writing to my memory of the music playing through my mind. Most of the lyrics emerged this way, and then I used my conscious mind to refine them a bit at the end." One other song came along with LeBrecht's new pieces, a cover that seems wildly unlikely from the outside and makes total sense in its context: it's a version of Atoms for Peace's "Amok" (which had been created by improvisation and editing, too), mutated into her own idiolect.

In early March of 2020, LeBrecht recorded Holy Prana Open Game's analog synth parts with Martin Bisi at his studio in Brooklyn--and then the world shut down. As you may have gathered, LeBrecht is very much a spiritual, head-in-the-stars type. She is also extremely hardcore, and if making the art she wants to make means doing things the hard way, she cracks her knuckles and gets down to it. Within weeks, she had taught herself how to record, mix and edit with a digital audio workstation. She recorded her vocal parts (sometimes multi-tracked into a radiant choir) at home, assembled a rough mix of the album, and sent it off to her collaborators.

LeBrecht spent some years studying with and assisting La Monte Young and Marian Zazeela at their legendary sound-and-light installation, the Dream House. As with their work, her singular, precisely focused vision is shored up by its openness to artistic voices beyond her own. For Holy Prana Open Game, she worked with the Australian guitarist Mick Turner and drummer Jim White (both of Dirty Three, the Tren Brothers and innumerable other projects), as well as woodwind player David Lackner, a longtime presence on her recordings.

Turner and White have been playing together in one context or another since 1985; in the summer of 2020, they were only blocks from each other in Melbourne, Australia, whose strict lockdown meant they couldn't meet up to record together. So both of them, as well as Lackner, recorded their improvisational additions to LeBrecht's rough mixes individually, often without hearing each other's contributions. "I had asked them to play as much as they could on each track," she says, "and told them that I would edit it all down in post, so I had a lot of source material of theirs to work with."

LeBrecht arranged and edited the recordings from all four of their homes to flow together like breath across the duration of her suite. Prana, one of the album's central conceits, is in fact the Sanskrit word for breath, with the connotation of the breath of life. Like LeBrecht's music, prana flows at its own pace, and demands stillness to take in fully--but it's also subtly playful and surprising, a force that can be as light as air or as immersive as the atmosphere itself.

Das 1972 veröffentlichte Album ”Swaddling Songs” ist das einzige Studioalbum der irischen ProgressiveFolk-Band ”Mellow Candle” und ist bekannt für seine vielschichtigen Gesangsharmonien und komplexen Arrangements. Im Laufe der Zeit wurde das Album zu einem Klassiker der Progressive-Folk-Szene.

Ab dem 23.06.2023 als limitierte 1LP über verfügbar.

„Since I Have A Lover” erscheint auf Vinyl!

Der R&B-Sänger 6LACK aus Atlanta ist bekannt für sein ehrliches Storytelling, einen kühlen Gesang sowie seine minimalistischen Beats, auf denen er persönliche Herzensangelegenheiten behandelt und verarbeitet.
Seine beiden Alben „Free 6lack‘‘ und „East Atlanta Love Letter‘‘ erreichten beide sowohl Gold- als auch Platinstatus. Er kollaborierte unter anderem mit Künstlern wie Jessie Reyez, Zoe Wees, Khalid, J. Cole, Future oder Lil Baby. Neben seines Gesangstalents ist der Künstler auch für seine Rapkünste bekannt und wird mit seinen unterschiedlichen musikalischen Einflüssen aus R&B, Rap und Art-House-Soul von pitchfork als eine der wenigen Künstler beschrieben, die ein „Verständnis für die kommerziellen Winde des Genres
beweisen‘‘. Nachdem er sich in den letzten 4 Jahren weitestgehend aus der Öffentlichkeit zurückgezogen hat, veröffentlichte er am 24.03. sein Album „Since I Have A Lover“. Auf diesem Projekt befasst sich 6lack mit Themen wie Liebe und persönlichem Wachstum. Es ist eine Antwort auf die toxischen Erzählungen, die in letzter Zeit in der Musik und Kultur zentrales Thema waren. Das Album wird ab dem 23.06 dann auch auf Vinyl erhältlich sein.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 1st single released on Selected Works and encompasses house, UK Garage and Future Funk influences. Tee Illa blends a wide range of musical genres and combines influences such as Lo-Fi Hip Hop, house and breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 1st single released on Selected Works and encompasses house, UK Garage and Future Funk influences. Tee Illa blends a wide range of musical genres and combines influences such as Lo-Fi Hip Hop, house and breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

L.A. Guns mit ihrem neuesten Studioalbums "Black Diamonds". Produziert von Gründungsmitglied und Gitarrist Tracii Guns, ist "Black Diamonds" eine Tour de Force des Rock 'n Roll, die Fans der langjährigen Hardrocker begeistern wird. "Black Diamonds" zeigt Tracii Guns, Phil Lewis und Co. , die den Prozess um die Namensrechte gegen Rileys L.A. Guns gewonnen haben, auf der erfolgreichen und inspirierenden Klangreise, die sie auf ihren letzten Alben "Checkered Past", "The Devil You Know" und "The Missing Peace" unternommen haben. Die Band spielt ihre Hardrock-Einflüsse, integriert aber auch introspektivere akustische Tracks, die ihre klassischen Rock-Einflüsse aus den 70ern wiederspiegeln. Seit ihrem legendären Debüt im Jahr 1988 bis hin zu ihren vielgelobten "Comeback"-Alben haben L.A. Guns, angeführt von Tracii Guns und Phil Lewis, ihren Fans immer hochoktanhaltigen Rock 'n Roll geliefert. Seit sich die Kernmitglieder Tracii und Phil 2017 unter dem Banner von L.A. Guns wiedervereinigt haben, ist die kreative Energie der Band im Laufe von mittlerweile vier Studioalben wieder aufgelebt.Für alle Hard Rock/Glam Rock Fans.

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

Geese veröffentlichen ihr zweites Album '3D Country', den Nachfolger ihres Debüts 'Projector'. Im Sommer 2021 tauchte die Band wie aus dem Nichts auf und obwohl die 5 Jungs aus Brooklyn eigentlich vorhatten, nur ein paar Songs vor dem College zu veröffentlichen, wurde schnell ein Album draus, dass u.a. von der NY Times, Stereogum, Rolling Stone gefeiert wurde und ihnen Auftritte im TV bei Colbert und im Vorprogramm von Jack White einbrachte. '3D Country', von der Band und James Ford (Arctic Monkeys, Depeche Mode, Shame) co-produziert, entpuppt sich als ein abgefahrener, wilder und unvorhersehbarer Ritt, der eine Welt unter die Lupe nimmt, die nicht mehr so ganz die alte zu sein scheint.

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

The set list is a brutal selection of cuts from the Nightmare Logic & Manifest Decimation albums + a deep cut/fan favourite: “Suffer No Fool" . 11 killer thrashing tracks full of all the fire and venom that only this band can deliver.

Label boss Carlo rallies the troops again. This time for his own new collaborative EP, ‘VERSUS’.
Aterral regular, firm family favourite and one of the labels founding artists, Black Loops, steps up on the gorgeously groovy ‘Hungover’. No cloudy heads or slow steps on this collab. Woozy keys yes, but these are kept true by the spritely xylophone melody and warm rolling bass. A perfect opener from this pairing.
Following his popular DOS despatch, ‘Be Pe Em’, much was expected of Emanuele Barilli’s new adventure alongside Carlo. ‘Lelazo’ doesn’t disappoint. Sharp shuffle, filtered keys and popping bassline, all make for a perfect beach-bound soundtrack. Close your eyes, feel the sun on your skin.
From Hungover to another victim of the session, as Carlo teams up with German producer Hauke Freer on ‘Maison.’ Deep, low slung vibes on this ode to the sound we all love. Beautifully constructed, from its patient creamy bassline to its bright rimshots and tender vocal. This is our house. Our home. Come on in.
The most personal of Carlo’s new tracks brings things to a close as he teams up with his young son on ‘Einhorn Poops’. The sun’s warmth is felt again on this beautifully crafted slice of balearic house that matches O's vocals to the equally innocent chimes and bird song to create a fitting and sublime finale.

2023 Repress

Snoop Dogg is a legendary personality. He burst on to the scene in the early 90’s and stole the show with his appearances on Dr. Dre’s classic album, The Chronic which cemented him as a prominent figure within the halls of hip hop. Since then he has gone on to release multiple platinum albums, star in major motion pictures, and even host a TV show with the one and only, Martha Stewart! In 2017, Snoop releaed the album, Neva Left which was a call back to the style that gained him notoriety. Packed with features from the likes of Too $hort, Wiz Khalifa, K CAMP, Nef The Pharoah, Devin the Dude, KRS-One, Redman, Method Man, BADBADNOTGOOD, Kaytranada and more.

* Dreadland is an instrumental Roots Reggae album and is the culmination of two years work, where the tracks evolved and were then adapted and re-engineered to utilise a new/revised Alien Dread studio set-up in late 2020.

The album eventually came together in Summer 2021. Alvin Davis is a talented multi-instrumentalist; specialising chiefIy in saxophone, Trumpet, Trombone, Flute etc;. He has worked with Alien Dread for many years and has contributed to virtually all projects.

All of the pieces were inspired by traditional Jamaican Roots Reggae and skillfully produced by Andrew Passey (Alien Dread) with assistance from ISR (long time co-producer). The other players involved are Asha B, who has worked with AD for several years ref Congos and percussion and Steven "Marley" Wright, who supplied rhythm and lead guitar.


* Cassette – Special limited edition. *10 Selected tracks from the CD release (IRONCD 029).
* All rhythms by: Alien Dread, feat Asha B, Steven ‘Marley’ Wright.
* Recorded at AD Studio.
* Tracks mastered by Alien Dread/Isr at AD Studio.
* Produced by: Alien Dread.
* Promotional Video on You Tube:

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin’s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin’s solo output is best remembered for his two solo outings with the Black Jazz label- “The Skipper” & “The Skipper At Home”. Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin’s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz’s most influential heartbeats.

For any vinyl lover, The Hypnotist doesn’t need an introduction. Originally released on Rising High, the label from the illustrious Caspar Pound, The Hypnotist, a collaboration between Caspar Pound and Pete Smith, returns on vinyl with a brand new remix by Belgian producer duo Danny Corten & Youri Parker backed with the very much sought-after original mix.

Following weeks of anticipation after an already banner year for the Hot Spitta, Curren$y gifts fans with his third release of 2022, The Drive In Theatre Part 2, the next installment in the cult fan favorite series. The 21 track album features appearances from Rob49, Fendi P, Dash, URA, Blü, I’sis, Premo Rice, and Jade Angelle, and sees production from Kino Beats, Trauma Tone, Harry Fraud, Cookin Soul, and more. In traditional form, Curren$y skates over smooth, jazz-infused beats and delivers a perfect album to put on and let play out while relaxing or working. If it wasn’t already clear, it’s safe to say that Curren$y is one of the greatest to ever do it. How many more timeless classics do you need?

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

The set list is a brutal selection of cuts from the Nightmare Logic & Manifest Decimation albums + a deep cut/fan favourite: “Suffer No Fool" . 11 killer thrashing tracks full of all the fire and venom that only this band can deliver.