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Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist.

Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.

Produced by Nigel Godrich, Win & Reìgine, and recorded in multiple locales including New Orleans, El Paso and Mount Desert Island, WE paradoxically distills “the longest we’ve ever spent writing, uninterrupted, probably ever" (per the band’s Win Butler) into a concise 40 minute epic – one as much about the forces that threaten to pull us away from the people we love, as it is inspired by the urgent need to overcome them. WE’s cathartic journey follows a definable arc from darkness into light over the course of seven songs divided into two distinct sides -- Side “I” channeling the fear and loneliness of isolation, and Side “WE” expressing the joy and power of reconnection.

On the album’s cover, a photograph of a human eye by the artist JR evokes Sagittarius A*, the supermassive black hole at the center of the galaxy. This stunning image -- embellished by the distinctive airbrush color tinting of Terry Pastor (utilizing the same physical technique he employed on David Bowie’s iconic Hunky Dory and Ziggy Stardust covers) – is the visual expression of WE.

Kicking off what will be an Alice Coltrane year with more releases to come in the next 12 months, is a previously unreleased, killer live recording from 1971. Recorded live, by Impulse! at a charity gala given at Carnegie Hall for the benefit of the Integral Yoga Institute in 1971, this incredible set never saw commercial release until now. The gala concert was one of two halves with the first two transcendental tunes by Alice taken from the album she had just released on Impulse! and then two explosive tunes by her late husband John Coltrane. Naturally, à la Coltrane/Dolphy at the Gate, which picked up the recent Grammy nomination for Best Liner Notes, the package includes some knockout editorial, with essays by Lauren Du Graf and Alice’s producer Ed Michel.

handsigniert & nummeriert

Wir schreiben das Jahr 2025 und FEINE SAHNE FISCHFILET kündigen ihr neues Album „WIR KOMMEN IN FRIEDEN“ an:„Alle gegen alle, im Krieg mit sich und untereinander und natürlich immer exklusiv mit der alleinseligmachenden Offenbarung im Gepäck.

Jeden Tag passiert so viel, so viel Scheiße, so viel Dummes, aber auch immer die guten Sachen mit den Freundinnen und Freunden, der Familie, mit all denen, die noch nicht komplett im Arsch sind. Zeiten, in denen man sich nur umdrehen muss und einem die Idee für das nächste Lied an den Kopf geworfen wird. Und so erscheint am 30. Mai unser neues Album mit einer Menge neuer Songs. Wir kommen in Frieden. Das ist unsere letzte Warnung.“

Angetrieben durch ihren ureigenen Signature Sound - High Energy Melody-PunkRock mit Trompete – gelingt den fünf Musikern mit ihrem neuen Werk eine hinreißende Bestandsaufnahme und gleichzeitig Ausblick auf eine der ungewöhnlichsten Band-Karrieren der letzten Jahrzehnte dieses Landes, ein wilder Trip, der sie aus der vorpommerschen Provinz durch viele Irrungen und Wirrungen bis an die Spitze der deutschsprachigen Musikszene geführt hat.

Produziert wurde der Longplayer erneut von Philipp »Philsen« Hoppen, der auch schon bei Alben von Die Ärzte, Kraftklub, Deichkind und K.I.Z. seine versierten Finger im Spiel hatte.

"In 2020, Chick Corea—27-time GRAMMY® winner, National Endowment for the Arts Jazz Master, and one of the most iconic figures in jazz—hit the road with his powerhouse trio of Christian McBride and Brian Blade, and embarked on what would be his final tour. Candid Records and Chick Corea Productions proudly present the recordings from that tour as Trilogy 3, the third installment from this extraordinary group. This unforgettable double live album showcases their unparalleled chemistry and cements their legacy in contemporary jazz history.

With years of collaboration to draw from, 9-time GRAMMY®-winning bassist Christian McBride and 4-time GRAMMY®-winning drummer Brian Blade bring a profound musical connection to their work with Corea. Their longstanding partnership fuels a dynamic, ever-evolving soundscape that elevates the art of the jazz trio to new heights.

Following the critically acclaimed Trilogy (2013) and Trilogy 2 (2018) albums, which each earned two GRAMMY Awards® including Best Jazz Instrumental Album, Trilogy 3 marks yet another milestone for this celebrated ensemble. The release brings together live performances from their February-March 2020 tour, cut short by the onset of the pandemic, capturing the trio’s extraordinary interplay and artistic brilliance. The album features fresh interpretations of jazz standards and Chick Corea originals, including the first trio recording of Corea’s iconic composition ""Windows"" since its appearance on the album Now He Sings, Now He Sobs, nearly six decades ago.

Widely regarded as one of Chick’s most acclaimed ensembles, this trio has consistently pushed the boundaries of jazz with technical brilliance, playful camaraderie, and deep emotional resonance. Trilogy 3 invites listeners to join these masters on a journey through music that is both timeless and groundbreaking."

With releases on Brooklyn’s Major Records and UK imprints Non Stop Rhythm and Indulgence, DJ Split is a breakthrough producer putting his own stamp on the classic Chicago house sound. For his Shadow Pressings debut he has conjured up five original club cuts that will work their magic on any dance-floor worth it’s salt.

Last Night Baby sets the tone with taught 909 beats, punchy bassline stuttering vocal hits. Piano chords and a smattering of melodic chimes and just the right amount of musicality without taking away any of the raw energy and turbo-charged grunt. Treading a similar path but upping the BPM’s, XNXX goes for the jugular with gnarly FM bassline and frenetic groove.

Flip over for Can I Tell You? which goes a little deeper with a rolling bassline, filtering Detroit pads and strings whilst Step For brings touches of acid, banging 909 toms and vocal chops. Closing out the EP we have One In A Life Time which turns up the jack factor with snappy 808 snares, mechanical bass line and deep stabs. DJ Split is a man on a mission to bang the party and has come prepared with his piñata fully loaded with big, fat beats n basslines.

In dark and difficult times, the music of Barney Lister and Kojo Degraft-Johnson lifts us up. As MRCY, the production and vocal duo are confronting the many crises of modern life with a fresh sound full of punchy instrumentation, enveloping orchestration and lyrical honesty. On their latest project, VOLUME 2, Barney and Kojo deliver emotive music that surprises as much as it comforts, referencing timeless sounds as much as a sense of the cutting edge. Channeling soulful vocal melody alongside afrobeat polyrhythms, jazz soloing and driving, distorted grooves, tracks like "Man" address the challenges of modern masculinity, while standout number "Fear" drives a message that encourages us to fight the terror we might feel about the state of the world with optimism. Following the acclaimed release of their 2024 debut project VOLUME 1, which saw the duo nominated as Rising Stars at the Rolling Stone Awards and named as one of DIY's Class of 2025, MRCY returns with vital music that addresses the complexities of being alive today. "We're trying to extinguish fear with optimism and worry with love," Barney says. "VOLUME 2 breaks the mould to present a bigger picture of who we are - something with angst, surprises and more guts. The main feeling of the project is that the world is fucked but let's dance through it."

During the course of his career, the legendary creator of Afrobeat Fela Kuti used his music to lament social injustices and political corruption in his native Nigeria. His music, a compelling blend of American funk and West African highlife, often locked into spellbinding grooves that seemed to go on forever. Yet that was the point: to fall deep into the rhythm and dance away the hardship. While this impacted Nigeria and the entire world, it also affected Fela’s son Femi and his son Made, both of whom carry his legacy as torchbearers for change. On February 5th 2021, Partisan Records, home to Fela’s catalog, will release two albums from Femi and Made — both very much in the tradition of Fela’s music, but with different scopes. Femi’s album, Stop The Hate, radiates the unique Afrobeat sound that he has forged throughout his long career, affirming the sharply political conviction that his father would’ve claimed in the 1960s, ‘70s and ‘80s. Made’s album, For(e)ward, is a modern and progressive freedom manifesto, pushing boundaries of the subgenre even further. Made also performs every instrument on the album. Together they will be packaged into a double album called Legacy + that, when taken as a whole, bolsters the rich musical heritage of the Kuti name. Yet this isn’t just about honoring Fela, it’s also personal for Femi and Made, a father and son with deep creative synergy. Most importantly, the project finds these men coming together in the name of family. “This is probably the most important part of my life right now,” Femi says. “I’m happy because he’s not copying me. He has found his voice. What other joy could a father want than to experience this in his lifetime?”

Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.












[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]

Jahtari label compilation full of all-new Outsider Dubs, Dancehall bangers and lots of cosmic low end, marking twenty years of Reggae oddness from Leipzig.

Vol. 5 is the first addition to the Jahtarian Dubbers series in over ten years, starting off with ‘The Loop Jerk’ by DJ and activist Dave Watts aka KingLMan (who sadly passed away in 2024).

Kiki Hitomi turns up the heat with ‘Red Mustang’, a raw but sweet PG 18-rated Japanese lofi Reggae gem, followed by ‘Casio HipHop’, an addictive synth & drum machine session by UK bedrock producer Kris Kemist (Reality Shock Records).

Singjay miracle El Fata brings the positive energy with ‘Boom Sound’, a synthie dancehall scorcher hot off the tape reels at Naram’s studio in the New Zealand bush, while Jura Soundsystem’s hypnotizing ‘On My Way (Dub)’ easily shifts gears into Sly & Robbie-mode.

Side B starts off with Pupajim’s prophetic ‘Tidal Wave’, produced by digi-reggae specialist Raggattack and coming in an epic extended Disco Dub version.

Melodica wizard Taka Noda (Mystica Tribe) and synth shaman Danny Wolfers (Legowelt) enter into deep magnetic communion with their Sacred Tascam tape deck on ‘Cabal of Puppeteers’, followed by DJ veteran Speng Bond chanting ‘Wha Mek’ over a spaced out depth charge by Jahtari co-founder Rootah.

Gameboy-whisperer DJ Scotch Egg (WaqWaq Kingdom, Seefeel) joins forces with disrupt and Dub trumpet black belt Pablo Volt (STA) for a mindbending journey going all the way from synth heavy Roots to Acid Jazz, on Namahage‘s ‘Voidout Dub’.

The voyage ends with a hazy and mystical Ambient Dub version of ‘Muuri’ by Finish singer Tiiu Helinä, with Tapes on keys – not to be missed!

All lovingly mixed by disrupt, coming with iconic artwork by Disko 69 (Doppeldenk).

Multi-instrumentalist producer and songwriter Barney Keen makes music for the long drive and nature"s embrace; influenced by a dynamic range of styles including Brazilian MPB, experimental electronic music, folk and soul. Harbinger, his 10-track debut album, is a cinematic journey exploring imagination, revelations of the day-to-day and life itself; landing via London"s Touching Bass.

Skyjoggers, the innovative band from Tampere, Finland, fuses the exhilarating elements of space rock and psychedelic soundscapes. Their music captures the essence of cosmic exploration, characterized by hypnotic riffs and an experimental approach that pushes boundaries. With a focus on dynamic performances and rich instrumental textures, Skyjoggers invites listeners on a journey through uncharted musical territories.
On ”12021 : Post-Electric Apocalypse” Skyjoggers focus on themes such as death, loss and despair. Writing of the album took place during the pandemic, forest fires in the Amazon and wars around the planet - the band took inspiration from such themes trying to channel the hard topics into something beautiful shining a ray of hope and light into the world through music. The album showcases the heaviest side of Skyjoggers heard to this day, bringing elements of black and doom metal into the band's unique mix of modern space rock.
Skyjoggers are:
Alexi Belle - guitars & effects - Juan Rico - bass, synth & vocals - Gabo Sabor - drums & vocals

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

All Demilich demo material plus recordings from 2006 in a snappy double LP package. Compiled together with the band, this is the ultimate Demilich demo compilation. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries.

All Demilich demo material plus recordings from 2006 in a snappy double LP package. Compiled together with the band, this is the ultimate Demilich demo compilation. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

Faun Fables, the long-running collaboration between Dawn McCarthy and Nils Frykdahl, have returned with Counterclockwise, the follow-up to 2016"s Born of the Sun. With the longest space between albums in the band"s twenty-seven year history, the nature of time and experience spent raising a family and negotiating life"s changes have much to do with the incredible listening companion Faun Fables have gifted us here. Counterclockwise"s songs and production are the most encompassing, richly lived-in sonic world of their seven full-length albums. From start to finish, it is an exquisitely etched portrait of their aesthetic and worldview: colourfully studded with fine-hewed jewels of song, tinged with the traditional sounds of past and future nations. Their timeless "songtelling" practice is entwined with a holistic view of a life in music - embracing and celebrating the mundane details of home, partnering and family, elevated by a mystical and fantastical perspective. The new discovery here is their creative relationship with time.