Search:lou

FOR FANS OF: LOUNGE-MUSIC, PACHA, AMBIENT MUSIC.
Sommer, Sonne, Ibiza-Feeling: IBIZA BEACH BEATS ist die ultimative Chill-, Relax- und Lounge Music Compilation im LP-Format; gepresst in schneeweißem Vinyl. 24 Tracks, emotionale cool-down Klänge für Ibiza-Lovers.

FOR FANS OF: ERIC CLAPTON, JEFF BECK, ROLLING STONES.
Anfang der 60er Jahre gelang den YARDBIRDS aus England mit den drei einflussreichsten Rockgitarristen Jeff Beck, Jimmy Page und ERIC CLAPTON unzählige Hits und führten die britische Band zum Weltruhm. Diese 2-Song-Picture-Vinyl-Single (Vinyl) enthält die Klassiker "Louise" und "I am A Man" mit ERIC CLAPTON; aufgenommen im Jahr 1964. Strikt limitiert und ein Augen- & Ohrenschmaus für alle Fans.

Following in the footsteps of 'L'Espròva', a record released in 2018 by and 'Mantras', a body of long instrumental pieces, Ernest Bergez joins Jacques Puech, Elisa Trebouville and Loup Uberto to explore the possibilities of a collective energy. L'Herbe De Détourne achieved to catch the vivid energy of the band playing live and combined it with all the sonic explorations the musicians had in mind for a long time, in a completly free state of mind. Themes and songs are wound up in complex rhythmic gears and follow one another in a continuous momentum. Freely digested, the traditional repertoire from the Massif Central mutates and hybridises with invented forms, inspired by traditional Greek, Persian and North African music... The result is music that is as much for the ears, the feet, as for the guts and perhaps the heart.
It can be a ball, a concert, or a spontaneous ceremony. The Occitan language takes a central place, both as musical material and as a poetic and emotional springboard. Inspired by traditional canvases, a poetic form emerges and makes its way through the old words, passed from mouth to mouth.

DJ Seduction's debut release marks the start of an Impact Records Remastered Series. Both "Hardcore Heaven" and the flip side "You & Me" were essential dancefloor pleasers upon release, the total sales hitting 89000 after reissue on ffrr (London Records).

Sourced from Digital Original Masters we have carefully restored and remastered this classic release while retaining all the character of the original. Remastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

Bekannt wurde Jones, der für "seinen rauen, kraftstrotzenden Bariton" (dpa) bekannt ist, als einer der Sänger und Haupt-Songwriter von Durand Jones & The Indications. Sein Solo-Debüt führt Jones nun von dieser hochgradig kollaborativen Band an einen Ort, der weitaus verletzlicher und einzigartiger ist, und bestätigt seinen Platz an der Spitze als modernen Vorreiter der Southern Black Music. Die elf Songs vereinen sich zu einer trotzigen Verkörperung von Jones' ganzem Selbst: Persönlich sowie kulturell, Vergangenheit, Gegenwart und Zukunft vereint. Auf der Grundlage von Rock, Folk, Kirchenmusik und R&B erkundet "Wait Til I Get Over" den eigenen Wert und den Glauben durch Liebe, Sehnsucht, Gedichte und Gebete - basierend auf dem Sound Durands eigener Heimat im ländlichen Schwarzen Süden Nordamerikas. Ein Großteil von "Wait Til I Get Over" basiert auf Jones' Beziehung zu seiner Heimatstadt Hillaryville, Louisiana, einer Stadt, die als eine Form der Wiedergutmachung für zuvor versklavte schwarze Amerikaner gegründet wurde. Die Stadt sowie Jones' Reflexionen sind ein Gewirr von Widersprüchen: Die unberührte Schönheit und die zerlumpten Straßen; sein jugendlicher Wunsch, wegzugehen, und sein erwachsener Wunsch, seine Wurzeln zu ehren; die Geschichte der Plantagen und das Auf und Ab der schwarzen Gemeinde, die Hillaryville erst zum Blühen brachte und dann unter ihrer langsamen, systematischen Verwüstung litt. "Lord Have Mercy" die rohe und ungestüme erste Single des Albums, erinnert an den charakteristischen Muscle Shoals-Sounds, der Elemente aus Gospelmusik, Blues, Soul, Rock und Country verbindet. Mitten im Herzen des Südens, wo R&B und Rock'n'Roll aufeinanderprallten.

OVERVIEW: Engelwood, or Matt Engels, is a viral 24 year-old future funk, lo-fi, hip-hip and electronic music producer from Brooklyn, NY. Drawing on influences from producers like Flamingosis and Vanilla, as well as Japanese Funk and Soul music, Engelwood’s music could best be described as the soundtrack to your trip to the beach. The blends of funk, soul and tropical music, together, creates a unique fusion of sounds you can relax or dance to. Engelwood is also known for his productions for Dillon Francis, bbno$, Cuco, sophie meiers, Mia Gladstone, and Yung Gravy’s biggest hits such as “Knockout” and “Yung Gravity.”

"ARCHETYPES COLLIDE demand repeated listening, mixing everything from Linkin Park and Bring Me The Horizon to The Chainsmokers, and Stranger Things-style retro synths, into a unique musical identity. A collection of singles and EPs drew a devoted fanbase and the attention of Oshie Bichar, bassist for Beartooth. Bichar enlisted his management, and the pair took Archetypes Collide under their wing. Soon after, SiriusXM's Octane got behind songs like ""Your Misery,"" ""Becoming What I Hate,"" and ""Above It All."" The band appeared on major festivals like Aftershock, Louder Than Life, and Welcome To Rockville, toured with genre giants The Amity Affliction, and crafted an ambitious self-titled debut album for Fearless Records. Archetypes Collide spent several weeks in the first part of 2022 making their inaugural full-length, with a super team surrounding them to execute their vision. Bichar produced alongside Nick Ingram (Dayseeker, Convictions, Hawthorne Heights) at Capital House Studio in Ohio. Additional production came from Jon Eberhard (Skillet, I Prevail, Until I Wake); The Plot In You frontman Landon Tewers lent a creative hand as well. The resulting album, mixed by Jeff Dunne (Ice Nine Kills, Wage War, Make Them Suffer), captures the vibrant spirit of the 2010s-era Warped Tour with a postmodern edge. It's a diverse but singular mission statement, brimming with authenticity and hope. ARCHETYPES COLLIDE aren't bound by preconceived notions or limitations. As single Kyle Pastor explains simply: ""Why not take every shot, in every direction, under the umbrella of hard rock and metal? "

After 2 cuts and 2 masterings... Finally the Revolture 02 can come to you ! A massive Industrial Techno/Tekno EP, with two 140 BPM bangers and two 160 BPM killerz ! A rare style for a pure raving pleasure !

Mastered by Stefan ZMK and cut by Simon The Exchange we reach a high range of frequencies and a loud sound on all kind systems !!

BIG !

Die Trackliste für Guardians of the Galaxy Vol. 3: Awesome Mix Vol. 3 (Original Motion Picture Soundtrack) besteht aus 17 Songs und wird am 5. Mai auf CD und 12” 2-LP Vinyl erhältlich sein.

Im Film spielen Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel als Groot und Bradley Cooper als Rocket, Sean Gunn, Chukwudi Iwuji, Will Poulter und Maria Bakalova
mit. James Gunn ist der Regisseur und hat auch das Drehbuch geschrieben. Kevin Feige ist Produzent, Louis D’Esposito, Victoria Alonso, Nikolas Korda, Sara Smith und Simon Hatt fungieren als ausführende Produzenten.

Repress of the 2019 reissued special marbled 180g vinyl version! "Odyshape" the second album by The Raincoats was originally released on Rough Trade Records in 1981. Remastered from original masters. "It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression_or the typical female as sex symbol avec irony or sensationalism". (Kim Gordon, Sonic Youth,1993). "We just really loved what The Raincoats were doing - they were a really exciting band. I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn't ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them". (Geoff Travis, Rough Trade Records, February 2009)

Mit einer brandneuen Vinyl Überspielung von Tonmeister Kevin Metcalfe (The Soundmasters, London) kommt die Wiederveröffentlichung des Klassikers von 1981 in top-a-top Soundqualität. Der Longplayer wurde im Channel One Studio von Soldgie Hamilton aufgenommen und in King Tubby's Studio von Jah Screw und dem Meister persönlich abgemischt. Als Produzenten für die Tracks fungierten Jah Screw und Ranking Joe. "Dangerous Dub" ist eine äußerst gelungene Präsentation von Sturgav Soundsystem Dub Specials auf Riddims wie dem "Heavenless", "Shank-I-Sheck" oder "Bandulo".

Ode to 97's third instalment on Departure Lounge features an eclectic mix of original tracks, which traverses the ambient realm, whilst retaining a progressive edge.

Heralding 2023 from way out west, Monde UFO land on Quindi with a distinctive album of dream pop vignettes and outer rim punk exotica.
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.

After 3 individual pieces on the Hamburg label PUDEL PRODUKTE, the longplaying work of the man from the Pension Stammheim is finally released. It quickly becomes clear that this is a real capacity record: 6 (on vinyl) or 8 pieces (on electricity) from the cosmos of a man who means business. You can already tell by the fact that the record is only called ROTTE and not something else. Rotte makes ROTTE and nothing named, nothing labelled, nothing carefree commodes and prisoners certainly not.

It is relatively easy to approach ROTTE. Just listen and do nothing else. No, nothing. Nothing at all. Don't give away flowers, smoke cows, talk yourself or listen to the net. Don't try to get out of the Bermuda Triangle in the process! Concentrate as if you were reading a book by Suhrkamp. Be action-less in the here and jazz. Beat the six kinds of wood out of the coffin and leave only the steel screws!

Take Rotte and ROTTE seriously. Man and work. With him, though, black is absolutely a colour. My ketamine is my petrol. First Takes only. Drilling without Club of Gore. Undisputed truth. No Lounge. The lyrics on Rotte are not a party.

It might seem a bit TOO colourless, a bit TOO intense, a bit TOO hard and dark. Too much psycho-babble. But the songs bring it and you. They are designed in such a way that nothing else works during them. Nobody would think of peeling an egg at Russian roulette. That's how you have to see it.

The songs were musically supervised by Jörn Elling Wuttke and Oliver Bradford (Thee Church Ov Acid House), by DIE NERVEN producer Ralv Milberg, by Douglas Creed (BPitch Control + Freude am Tanzen), Boris Nielsen (Käptn Peng) and Peter Armster.

There is a congenial mutual autocorrection between lyrics and music. Individually, this cannot be heard and it is not offered. By the way, you don't hear anything else at the Federal Criminal Police Office at the moment. So please.

A1 Fliege gegen Scheibe
Written & produced by Oliver Bradford, Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

A2 Butterbrot und Peitsche
Written & produced by Peter Armster, Christian Rottler
Lyrics: Christian Rottler

A3 Gaffa, Farbe und Zustimmung
Written & produced Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

B1 Autosuggestion
Written by Boris Nielsen, Christian Rottler, produced by Boris Nielsen, Marc Eggert
Lyrics: Christian Rottler

B2 Deichtorhallen
Written & produced by Oliver Bradford, Jörn Elling Wuttke und Christian Rottler
Lyrics: Christian Rottler

B3 Dunkelwach
Written by Mario Willms, Christian Rottler, produced by Mario Willms
Lyrics: Christian Rottler

AUSTERE sind wieder da. Die Australier kehren mit ihrem dritten Album zurück - und sie sind ebenso lakonisch und bodenständig wie zuvor. Die neuen Tracks auf "Corrosion of Hearts" stehen auf dem gleichen soliden Black Metal Fundament wie zu dem Zeitpunkt, als die Band nach der Veröffentlichung des zweiten Langspielers "To Lay Like Old Ashes" im Jahr 2009 in einen langen Winterschlaf ging, Die vielschichtigen, rauen und oft sogar verträumten Gitarrengewebe von Mitchell Keepin werden durch das gefühlvolle Schlagzeugspiel von Tim Yatras perfekt ergänzt. Letzterer steuert auch Keyboard-Tüpfel und cineastische Klanglandschaften bei. Die Australier komponieren weiterhin mäandernde, fließende musikalische Gedankenströme von meist epischem Ausmaß. Auf "Corrosion of Hearts" entwickelt sich AUSTEREs Stil zu einer reifen und klar definierten Ausdrucksform weiter. Dies ist keine große Überraschung, da beide Musiker während ihrer Auszeit von der Band anderweitig musikalisch aktiv waren und so ihren Horizont erweitern konnten. Das Duo hat sich gleichwohl mehr Zeit genommen, um die neuen Songs so zu gestalten, bis sie ihrer Klangabsicht exakt entsprechen. Die größere Erfahrung bringt auch mehr Entschlossenheit mit sich. AUSTERE entstanden aus einem bestehenden Soloprojekt des Multiinstrumentalisten und Sängers "Desolate" alias Mitchell Keepin, der im Jahr 2005 auf den Schlagzeuger, Keyboarder und Sänger "Sorrow" aka Tim Yatras traf. Obwohl sich die Australier schnell eine ebenso treue wie beachtliche Fangemeinde erspielen konnten, beschlossen AUSTERE, eine längere Pause einzulegen, bevor sie im Jahr 2021 ihre Aktivitäten wieder aufnahmen. Als erstes Zeichen ihrer Wiedergeburt veröffentlichte die Band eine Zusammenstellung ihres früheren Materials, das als Artbook-Edition unter dem Titel "Towards the Great Unknown" bei Lupus Lounge erschienen ist. Mit neu entfachter Leidenschaft und einer klaren Vision kehren AUSTERE nun mit ihrem längst sehnsüchtig erwarteten dritten Album "Corrosion of Hearts" zurück. Voller Schönheit, Stolz und Dunkelheit zieht ein mächtiger schwarzer Sturm aus Down Under herauf.

AUSTERE sind wieder da. Die Australier kehren mit ihrem dritten Album zurück - und sie sind ebenso lakonisch und bodenständig wie zuvor. Die neuen Tracks auf "Corrosion of Hearts" stehen auf dem gleichen soliden Black Metal Fundament wie zu dem Zeitpunkt, als die Band nach der Veröffentlichung des zweiten Langspielers "To Lay Like Old Ashes" im Jahr 2009 in einen langen Winterschlaf ging, Die vielschichtigen, rauen und oft sogar verträumten Gitarrengewebe von Mitchell Keepin werden durch das gefühlvolle Schlagzeugspiel von Tim Yatras perfekt ergänzt. Letzterer steuert auch Keyboard-Tüpfel und cineastische Klanglandschaften bei. Die Australier komponieren weiterhin mäandernde, fließende musikalische Gedankenströme von meist epischem Ausmaß. Auf "Corrosion of Hearts" entwickelt sich AUSTEREs Stil zu einer reifen und klar definierten Ausdrucksform weiter. Dies ist keine große Überraschung, da beide Musiker während ihrer Auszeit von der Band anderweitig musikalisch aktiv waren und so ihren Horizont erweitern konnten. Das Duo hat sich gleichwohl mehr Zeit genommen, um die neuen Songs so zu gestalten, bis sie ihrer Klangabsicht exakt entsprechen. Die größere Erfahrung bringt auch mehr Entschlossenheit mit sich. AUSTERE entstanden aus einem bestehenden Soloprojekt des Multiinstrumentalisten und Sängers "Desolate" alias Mitchell Keepin, der im Jahr 2005 auf den Schlagzeuger, Keyboarder und Sänger "Sorrow" aka Tim Yatras traf. Obwohl sich die Australier schnell eine ebenso treue wie beachtliche Fangemeinde erspielen konnten, beschlossen AUSTERE, eine längere Pause einzulegen, bevor sie im Jahr 2021 ihre Aktivitäten wieder aufnahmen. Als erstes Zeichen ihrer Wiedergeburt veröffentlichte die Band eine Zusammenstellung ihres früheren Materials, das als Artbook-Edition unter dem Titel "Towards the Great Unknown" bei Lupus Lounge erschienen ist. Mit neu entfachter Leidenschaft und einer klaren Vision kehren AUSTERE nun mit ihrem längst sehnsüchtig erwarteten dritten Album "Corrosion of Hearts" zurück. Voller Schönheit, Stolz und Dunkelheit zieht ein mächtiger schwarzer Sturm aus Down Under herauf.

Brand new album by The Church, their first in 6 years! Presented in deluxe card gatefold sleeve CD with 16 page booklet and as limited gatefold purple double vinyl LP! "Let it first be said that the title track of The Hypnogogue, the first new album from The Church in six years, is one of the most breath-taking singles they've released in years, a darkly psychedelic six minutes that slowly spirals into a menacing descent. That alone is a reason to keep this one on your radar; the Australian neo-psych band have been going for over 40 years, with around a half dozen classic albums and zero bad ones, yet their ability to keep evolving and uncovering new aspects to their sound and approach only serves as a reminder of how vital they remain after four decades". After an epic return to homeland stages, Australian psych-rock legends The Church announce their forthcoming studio album The Hypnogogue. Following on from 2017's widely acclaimed Man Woman Life Death Infinity, the Sydney band's 27th album was recorded just before the world was shut down by the COVID-19 pandemic. Emerging from the darkness is the band's first new studio album in six years and the first to feature the newest line-up led by founder, bassist and vocalist Steve Kilbey. "The Hypnogogue" is the most prog rock thing we have ever done, we've never created a concept album before," says Kilbey. "It is the most teamwork record we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it's in our top three records." Picking up substantial international airplay, raising anticipation for the album's release, the digital singles 'The Hypnogogue' and 'C'est La Vie' set the stage for the album's striking science fiction narrative. Kilbey unpacks the themes that tie the album together: "The Hypnogogue is set in 2054, a dystopian and broken-down future. Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight off dreams." This new five-piece line-up is made up of Kilbey along with long-time collaborator, drummer and producer Tim Powles, who's remained a staple across 17 albums since 1994. Joining them is guitarist Ian Haug, formerly of Australian rock icons Powderfinger, who has been with the band since 2013. Touring multi-instrumentalist talent Jeffrey Cain is now a full-time member since the departure of Peter Koppes in early 2020. Completing the line-up, newcomer Ashley Naylor is one of Australia's finest guitarists and a long-time member of Paul Kelly's touring band. Formed in 1980, The Church found early chart success in their homeland, before establishing themselves as an international touring entity, earning a worldwide hit with the single 'Under The Milky Way' from their hit 1988 album Starfish, while their stellar live shows have been deemed 'spectacular' by MAGNET magazine and continue to win the hearts of industry and fans across the world. Often seen as the Godfathers of an Australian psych/prog scene generating such internationally successful names as Tame Impala and King Gizzard And The Lizard Wizard, The Church have gone on to maintain a loyal and far-reaching following as their fanbase has expanded with their evolving sound. Entering their fifth decade as a band, The Church continue to remain a treasured creative force. European tour 2023 - Reviews secured in Mojo, Classic Rock, Uncut, Vive Le Rock, Record Collector, Louder Than War - Press Quotes: "While some may just want The Church to write another "Under the Milky Way", The Hypnogogue's title track is excellent. One of the most anticipated albums of 2023" - Brooklyn Vegan - Treble Zine have named The Hypnogogue one of their most anticipated albums for 2023

Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman

Boppin’ In Baltimore: Live at the Left Bank is a previously unissued recording of saxophone master Sonny Stitt captured live at the Famous Ballroom in Baltimore, MD on November 11, 1973, for the Left Bank Jazz Society. Recorded by Left Bank founder Vernon Welsh, Boppin’ In Baltimore is an official release in cooperation with the Sonny Stitt Estate and features an all-star rhythm section of pianist Kenny Barron, bassist Sam Jones and drummer Louis Hayes. The deluxe limited-edition 180-gram 2-LP set includes an extensive booklet with rare photos by Christian Rose, Raymond Ross, Tom Copi, Burt Goldblatt and others; liner notes by acclaimed jazz critic Bob Blumenthal; and interviews with Barron, Hayes and saxophone icon Charles McPherson, Muse Records founder and producer Don Schlitten, and an archival interview with Sonny Stitt himself from the early 1970s conducted by Marc Vasey in Canada. The vinyl edition is mastered for vinyl by legendary mastering engineer Bernie Grundman.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

Gold Vinyl

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Tape

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

vinyl only / Limited Edition - 200 copies only

The 2nd release on Southside is a fact !! Quality acid techno straight from the underground !! Music with hard bass specifically designed to pound everyone dancing in front of many thousand watts speaker systems as hard and loud as possible !!! Only 200 copies available so don't miss this one !!

The album is an atmospheric exploration into bereavement and nostalgia,
covering subjects such as worker's rights, adversity and hope. Upbeat, downbeat,
with swelling synths, jagged guitars and atmospheric percussion, it is unafraid to
be stark and bare, yet vivid and uplifting.Deborah is also known for her
enchanting vocals and musicianship in well-loved and critically-acclaimed band
Blueflint. This album is a collaboration with multi- instrumentalist Pat McGarvey
and leading percussionist Rich Kass. Deborah received funding from Creative
Scotland to create the album with renowned producer Paul Savage.
The album will be launched at Leith Depot in Edinburgh on 27th April. Deborah
will also perform at The Glad Cafe in Glasgow alongside LNFG label-mates Gates
of Lights (Louise Quinn) and Xan Tyler. So far Air In The Lungs has received a
great response and the recent singles have been played on BBC Radio 6 Music,
BBC Radio Scotland, BBC London, BBC Radio Ulster and more.

2023 Repress

For a change and for a louder sound, this Tekiteazy goes 45RPM with a 2 tracker.

The sound is loud... The kick just pump the energy. The Meltdown Danecfloor killer !

GRAMMY® Award-winning, RIAA platinum-certified international icon Tiësto will release his highly anticipated album ‘DRIVE’ on the 21st April, with pre-order set to go live on the 6th March. The album is more than just an “album,” it’s an experience that showcases Tiësto’s unique style. “DRIVE” will take you on the ride of your life; featuring previously released Don’t Be Shy, The Motto, The Business, Hot in It & 10:35, which have all accumulated over 3.5B streams leading into its release.

Tiësto is a GRAMMY® Award-winning, RIAA platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high profile Las Vegas residency and worldwide crossover success, Tiësto created the blueprint that defines what it means to be a superstar in today’s dance music world. With over 36 million albums sold, 10+ billion cumulative streams, and a social platform with an audience now exceeding 30 million fans around the globe, he continues to revolutionize the dance music landscape.

Tiësto’s first single upon signing with Atlantic Records, 2020’s “The Business,” has dominated airplay and charts worldwide since its September 2020 release, hitting #1 at US Dance radio while also garnering over 1.6 billion worldwide streams to date. A top 10 hit in 10 countries, as well as a Top 50 success on Spotify in 31 countries, “The Business” was honored with “Best Dance/Electronic Recording” nomination at the 64th Annual GRAMMY® Awards as well as 15 platinum certifications and eight gold certifications in countries around the world. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English language song and the first Latin Artist collaboration for Tiësto.

The historic track currently boasts over 867 million streams, over 1.2 million TikTok creates, and video views exceeding 290 million. The third single from Tiësto’s upcoming album on Atlantic Records, “The Motto” with Ava Max, proved another blockbuster, reaching the top 5 on Billboard’s “Dance/Electronic Songs” chart while earning more than 929 million worldwide streams to date. This summer saw “Hot In It” with Charli XCX reach the top 10 on Billboard’s “Hot Dance/Electronic Song” chart, fueled in part by over 200 million views across TikTok and IG Reels, and over 122 million streams to date.

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae.
Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform).
Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl.
After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same".
He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result.
“It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.
Written, Composed & Arranged by Laury Webb
Artwork by Parade Studio
Woman My Queen:
Recorded at Quadrasonic Studio (New-York) in 1986
Backed by The Tiger Bone Band
Bass: Leroy Guy
Keyboard: Laury Webb
Drums: David Ranglin
Guitar: Royo
Mixed by Peter Lewis
It Seems The Same:
Recorded at Music Mountain Studio (Jamaica) in 1987
Keyboard & Drum Programming: Winston Wright
Backing Vocal: Laury Webb & Barry Biggs

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Red Vinyl

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

When it comes to horrorcore you should be familar with the name Lil' Gain. His album 'Big Time Playaz' is a blueprint of this genre with plenty of satanic and bloody tracks. He comes along with features like Blackout, Terror, Lil' Slim and a lot more. Here's his only record to the rap world for the ¦rst time on vinyl!

When it comes to horrorcore you should be familar with the name Lil' Gain. His album 'Big Time Playaz' is a blueprint of this genre with plenty of satanic and bloody tracks. He comes along with features like Blackout, Terror, Lil' Slim and a lot more. Here's his only record to the rap world for the ¦rst time on vinyl!

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.

Den Hungaro-Amerikaner Gábor Szabó konnte man mit Fug und Recht als einen wahren “Scorcerer”, also Zauberer oder Hexenmeister bezeichnen. Nicht nur wegen seiner Virtuosität an der Gitarre und seiner fantasievollen Improvisationen, sondern auch, weil er es verstand, Popsongs in echte Jazzschmuckstücke zu verwandeln.
Das zeigte er besonders eindrucksvoll 1967 auf “The Sorcerer”, live im Bostoner Jazz Workshop eingespielt. Das Repertoire reflektierte, was damals hip war: eine Bossa Nova von Roberto Menescal, ein
Top-10-Hit von Sonny & Cher und ein Stück des französischen Filmkomponisten Francis Lai.

Gábor Szabós ”The Sorcerer” erscheint am 14. April zeitgleich mit der verschobenen LP: Ahmad Jamal - The Awakening (Verve By Request).

Zach Braff’s curated compilation soundtrack album for the upcoming drama film A Good Person. Written and directed by Braff, the film’s compilation soundtrack features a range of wistful folk-infused songs, including The Velvet Underground’s iconic 1969 song After Hours, written by Lou Reed and performed by the band’s drummer Moe Tucker, Bristol-based singer-songwriter Fenne Lilly’s 2021 track Hyopcondriac, American singer-songwriter Lizzie McAlpine’s 2020 song To The Mountains, American indie rock singer-songwriter Cary Brothers’ 2022 song Stardust, performed in the film for Allison (Florence Pugh) by Cary himself, and more (see full tracklisting below). The compilation soundtrack also features two brand new singles written and performed for the film by Florence Pugh. I Hate Myself and The Best Part.

María Dueñas presents her highly anticipated Deutsche Grammophon debut album; Beethoven and Beyond captures a towering performance of the Beethoven Violin Concerto, recorded live at Vienna’s Musikverein and featuring the artist’s own cadenzas. The album also includes works by Kreisler, Saint-Saëns, Spohr, Wieniawski and Ysaÿe, with a companion disc of Beethoven cadenzas by the same composers.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Civilistjävel! returns to Copenhagen label FELT with a four track EP following on from 2022's Järnnätter album.

Equally well placed next to the Biosphere / early Fax +49-69/450464 camp as well as various decades of electro-acoustic drone practitioners, Fyra platser (Four Places) also includes a trip-hop leaning collaboration with Cucina Povera. Whilst Järnnätter drew influence from the cyclical, chasmic nature of dub techno, Fyra platser hones further in on the ‘between’ areas in a minimal, reductivist fashion. The rhythms are there to follow but are primarily beatless and more expansive, though skewing perceptions of time in the same trademark manner.

Three locations in the Nordingrå area of the Swedish high coast are exorcised and channelled through sound. ‘Kolugn’ is a deliberately grainy, sepia-tinged continuation of the likes of Robert Rutman’s work across the 70s American avant-garde. It sits in contrast to the more obviously synthesis-led direction of fellow longform piece ‘Valmsta’. The location slowly changes to Finland via Athens, scenes of cafe conversations and hazy polaroids informing the lyrics of ‘Louhivesi’. The result sounds like a 90s illbient record dropped around 30 bpm and the stylus has caught on a perennial 8-bar loop. The balance of Cucina Povera’s cold, reverb-heavy vocal inflections drive the track into another dimension. If Moral were the Scandi Joy Division, this pairing must be the Scandi Massive Attack.

All the best music has a community underneath it. The extended family around London’s Total Refreshment Centre (TRC) connects continents and generations, creating the rich relationships in full effect on Transmissions From Total Refreshment Centre. It’s an eclectic and electric collection that draws from new school jazz, hip hop, dub, soul, funk, and drill: sounds you’ll hear trailing out of cars as they spin up the Kingsland Road or spiraling out of doorways like so much smoke. Turn it up loud to hear the widescreen young cousins of Guru’s landmark Jazzmatazz in full effect: top players from London, Chicago, and Melbourne seeking out new collaborations, new ways of working, or just new tunes, always coming back to that central truth – that we all need each other.

Das Album ”Off the Soundboard: Poughkeepsie, NY, 1984” von KISS wird neu veröffentlicht und stammt von der Animalize-Tour-Show am 28. November 1984 in der Mid-Hudson Civic Arena in Poughkeepsie,
NY. Es enthält die einzige bekannte Soundboard-Aufnahme mit Mark St. John. ”Young And Wasted” und ”Rock And Roll All Nite” sind leider unvollständige Aufnahmen, aber aufgrund der historischen Bedeutung dieser Show mit Mark ist zu hoffen, dass jeder genauso abrocken wird wie sie es getan haben.
Das Album ist jetzt als 2LP und als 1CD erhältlich. Das 2LP- Format beinhaltet eine Covercard mit dem deutschen KISS-Logo

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Four essential UK lovers rock / dub selections from the late 70s and early 80s featuring the sought after vocal cut ‘Our Tune' by Marie Pierre produced by Dennis Bovell and the Fender Rhodes laced heavyweight rhythm cut ’Fe We Dub’, featuring trombonist Henry Matic - Both originally released on Patrick Cann's PC Music imprint reissued here for the first time from studio tapes placed alongside Elizabeth Archer & The Equators classic reggae cover of ’Feel Like Making Love’ back-to-back with the dub ‘Version’ aka ‘Feel Like Making Dub’. Cut loud on 12” single for the first time.

From Ellen Allien to U.R. Trax, Miss Kittin to Anetha, or Chloé to Romane Santarelli Discoverall the greatest female producers of Electronic Music in a nice double vinyl LP : Women Of Electro ! - Including - Miss Kittin - Chloé - Romane Santarelli - TDJ - Maya Jane Coles - Anetha - Cinthie The Blessed Madonna - Lilly - Palmer - Helena Hauff - Ellen Allien - Mansfield.TYA DeLaurentis - Grimes - Louisahhh !!! - U.R.Trax - Monika Kruse...

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

Free The Robots intentionally marries various electronica genres into a joyous, machine-like syrup that swims between the currents of deep introspection and the depths of the dance floor. 'Kaduwa' is his most recent manifestation, born out of his travels around the world. Especially inspired by his time between Los Angeles, Barcelona, and the island Siargao in the Philippines, Free The Robots translates his experiences into electronic, jazz-centric and sample based beats with sublime tinges of psych, rock, house, and hip-hop. For the most part, these compositions are blunted, funky, and psychedelic. There are tracks for club nights, tunes for early morning comedowns, and songs that are suitable for both. Once more adding new ripples to his sound, Free The Robots continues to explore new frontiers while keeping the torch burning for the L.A. beat freaks

Oh YASS! A GOSPEL inspired album recorded in January 97 with guest MR QUINTRON on Hammond church organ & piano! 5 originals plus 3 covers of OLD gospel traditionals AND a stormin' cover of YOUNG JESSE's "Mary Lou"!

All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety

Beyond ecstatic to finally offer a glimpse into the world of voertuig. Working on music for several years, purely for themselves in sheds and studios tucked away in the outskirts of the hague, Tonal Oceans presents an album by the four piece act containing music embodying the true spirit of the city.

W&P by Offer van Kesteren, Gianni Tjon Tam Pau, Tijmen van Wageningen, Laurens ten Berge.

Artwork by Soft Turbo
Drawing by Ilan Havinga

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom. Roach was late to music, releasing her first LP ‘Memories of the future’ after a decade of motherhood and studying at college.

The second LP ‘ Revolution of Mind’, released October 2018, again produced by James Skelly, continued the fine work laid out on her 2016 debut. Announced in the top 10 albums of 2018 by BBCRadio6 Music, the record was one of the runaway indie successes of the year. In 2019 the band completed a sold out UK tour and played a string of UK festivals including main stage performances at Glastonbury and Blue Dot among others. In 2020 the band played virtual gigs to help raise money for Greenpeace and the Music Venue Trust among others and look forward to a proper return to live music.

Das erste Album in voller Länge seit fünf Jahren von den kanadischen Melodic-Metal-Helden Gatekeeper! Eine fesselnde Reise mit acht Songs, die epischen, melodischen Heavy Metal neu definiert! From Western Shores ist messerscharfen in Ausführung und Produktion. Der gefragte Arthur Rizk (Cavalera Conspiracy, Kreator, Sonja) übernahm die Mixaufgaben. Letztendlich verdoppelt sich From Western Shores auf die Elemente, die Gatekeeper zu einem internationalen Metal-Schwergewicht gemacht haben. Die epischen Teile sind epischer und die traurigen Teile - wie die Band unterstreicht - "sad as fuck". Es verstärkt die Vorstellung, dass Gatekeeper ein Schmelztiegel von Stilen ist, anders eben als diverse Protagonisten in der Melodic-Metal-Szene.

Umfangreiche Presse- und Online-PR durch Sure Shot Worx
Reviews / Features / Ratings: Deaf Forever, Rocks, Classic Rock, Eclipsed, Rolling Stone, Visions, Slam Magazine, Rock Tribune, Rock Hard, Legacy, Rock Hard, Rockway, Metal Invader, Loud and Proud u.a.

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

A beautiful combination of piano, strings, electronics and Ondes Martenot" Hannah Peel, BBC Radio3 "Fusing modern classical and ambient electronic, Missing Island is the highlight of the year in its class. Never predictable, never mundane - a special album."
Louder than War "What is the Missing Island? Snowdrops dances around the title, touching on multiple themes: the elements, the unconscious, the search for meaning and revelation. In the end, the missing island is open to interpretation: the piece that could complete us, if only we could find it." A Closer Listen. France chamber collective Snowdrops return to Injazero Records for their third album Missing Island, a musical fresco in seven pieces, a naturalist painting that exists between contemporary classical, post-folk and electro-acoustic music. Missing Island is the sequel to the highly acclaimed Volutes (2020), and again sees multi-instrumentalists Christine Ott and Mathieu Gabry joined by violist Anne-Irène Kempf on most tracks. This new chapter in the natural history of Snowdrops is lent an earthier texture by the hand-pumped organ, performed by Christine Ott.

Liverpool-born drummer Aynsley Dunbar was one of the most respected musicians on the international rock scene of the late ‘60s. His work with trailblazers such as John Mayall, David Bowie, Lou Reed and Frank Zappa, with whom he had a lengthy association, have assured his place in history. But Dunbar also laid down a marker as a bandleader in his own right. His debut album, Doctor Dunbar’s Prescription was a confident set of electric blues that was full of snappy tunes and high energy riffing. Recorded in 1971, Blue Whale is considerably more experimental, though. It is really a case of Dunbar drifting towards a hybrid of progressive rock and pyschedelia not far removed from Zappa’s surreally comic, bitingly sardonic world. And indeed the cover of his seminal ‘Willie The Pimp’ is one of the highlights of the set. Accompanied by excellent rhythm section players and soloists such as guitarists Ivan Zagni and Roger Sutton, bassist Peter Friedberg, pianist-organist Tommy Eyre, and vocalist Paul Williams, Dunbar hit a creative peak here that is emphatically maintained elsewhere on the album, which has mostly long pieces full of notable light and shade. This newly re-mastered version of Blue Whale puts one of the highpoints of Aynsley Dunbar’s illustrious career back under the spotlight. He was rightly inducted into the Rock & Roll Hall Of Fame in 2017 and there could be no more fitting example of his achievement than an album that sounds impressively fresh 50 years after it was made.

Ahead of an interestingly cheeky release schedule in 2023 from Seven Davis Jr., collaborators and fellow associates on Secret Angels Records, we present to you “savedbythebell”.

Described as a vibey intermission project. Music you might hear on an elevator ride inside a massive mothership that’s traveling through multiple dimensions. Sounds from an 80s themed alternate timeline. There are no rules here. There are no one set descriptions and multiple meanings abound. Although this be more of an instrumental adventure with only one song (chorus and verses etc). Its all interdimensional vibes.

Featuring 5 fresh tracks produced within in the last 2 years by Sev. (who previously had the habit of releasing mixtures of older tracks/reworked
demos along with new songs).

And with all releases from Seven Davis Jr., this one picks up where the previous ended. Sev’s 2021 song based album “I See The Future” left us with an unpredictable track titled “New Life Who Dis”. This ep introduces us to forthcoming new sounds from that new life.

Not just for dance floors, also for “chillen” or lounging on a nice day, or disassociating in the depths of a wormhole, or at an after hours where everyone’s faces are on fire and no one ever sleeps!

We hope you enjoy and if you do, please play it, share it and reach out to let us know so we can be friends. Because we aren’t jerks, we swear. At least not in this timeline.

A triple threat of signature Reflex Revisions for the third release on the fully licensed Discolidays. Bruise’s anthem ‘When Pianos Attack’ is first up for an expert reworking from the French maestro, before Lou Hayter’s cover of the Steely Dan classic ‘Time Out Of Mind’ gets Reflexed twice in a row in dub and vocal mix form.

DJ Support:

Dave Lee / Gilles Peterson / James Lavelle / François K / Glitterbox / Skream / The Blessed Madonna / Bill Brewster

Hey Joyce (BlackCash & Theo Edit) by Lou Courtney b/w Soupy (BlackCash & Theo Edit) by Maggie Thrett | Galaxy Sound Co. — GSC45-36 If you know, you know. & I know many of you have been digging for the very rare donut “Hey Joyce” by Lou Courtney. Even if you first heard it back in the day via #CutChemist & #DJShadow, this gem has long been popular amongst #raregroove dancers & dusty-fingered hip-hop DJs/beat-makers. “Hey Joyce” is a rare 1967 single from soul man Lou Courtney. Featuring a rasping, impassioned lead vocal from Courtney, sweet female backing vocals & the kind of semi-stomping beat that's so beloved by Northern Soul heads. In 1991, Main Source sampled it on their track “He Got So Much Soul (He Don't Need No Music)”. & thanks to the fine folks at @galaxy_sound_company you can cop it all for yourself.

On the flip, we have another lost funk jam, “Soupy” by Maggie Thrett, that has been sampled by #PrincePaul & #DeLaSoul for 1989’s “Jenifa Taught Me (Derwin's Revenge)”. Black Cash & Theo do the track right with a proper edit that'll put smiles on faces all across the dance floor. Like the A-side, “Soupy” is also a fave of Cut Chemist & DJ Shadow, as evidenced by their live sets & sample of it for their 2008 track “Fused Of Course”.
As with all GSC45s, another true must-have treat & 45-crate essential.

Daddario debuts at Ragoo Records with the 'Quinto Quarto' EP, a record that fuses beatmaking attitude with funk, disco and electro vibes. 'Quinto Quarto', which means entrails in Italian, is the result of his deep research about roots. From the broken funk of 'Shift' to the heavy percussions of 'Space Lou', each track is full of grooves and details that showcase Daddario's skills on the MPC as well as on synthesizers. The project is enriched by collaborations with percussionist JZP, guitarist Lorenzo Mantovani, bassist Michele Freguglia, trumpeter Matteo Pontegavelli, and two remixes from Astratto and The Mechanical Man.

Mongolian producer BODIKHUU returns with a sonic journey through Japan in the form of 13 instrumental hiphop vignettes. “I wanted to portray the 80s Japanese atmosphere through my style,” Bodikhuu writes from his home in Ulaanbaatar, the coldest capital city on earth. “Even though I have never been there, this is my way of saying that I have seen the place.” Unable to travel to Japan, Bodikhuu instead conjures an imagined city through sound. “Tokyo” evokes the neon, sweat, traffic, exhaust, gloaming towers and “monotonous lonely lives” of the sprawling megalopolis through its music. The album is a rich collage of cast-off sounds and razor sharp interpolations of city pop, obscure Japanese jazz, and 80s J-pop, all expertly chopped up on one of the few MPC-1000s in Ulaanbaatar. Faded voices over thundering drums give tracks like “Office Melancholia” and “Subway” a sense of place and emotional weight uncommon in beat tapes. In our new reality, where we all yearn for places we can’t reach, Bodikhuu’s lonesome aural sojourns hit especially hard. “Tokyo” builds on the international success of 2019’s “Rio/Bodianova” (the first Mongolian hip-hop record on vinyl), which found Bodi traveling through Rio on a lush bed of 1970s bossa nova and tropicalia. On this album, we’re jet-propelled into the 80s - all smooth surfaces, shimmering synths, and twinkling lights. Collaged cut-up artwork by Digital Sting (FeelFree Hi-Fi), warm analog master from Dave Vettraino (International Anthem) and loud-cut 160gm vinyl from Smashed Plastic in Chicago complement Bodikhuu’s considered beats.

Hailing from Essex, the six-member band officially formed in 2015. What originally started off as a few studio sessions between producer Tom and vocalist Alex Osiris, soon turned into a full-blown musical project. The established band line up was finalised after the additions of producer and musicians Tom Donovan, Cameron Morrell and Jonny Poole for what was meant to be a one-off festival performance which subsequently turned into a full-time project due to the undeniable chemistry shared on and off stage. The addition of in-house production and live instruments allowed the band to develop their alternative style of hip-hop that is truly unique and undeniably authentic.

Indies only release on 180g baby pink vinyl, printed inner-sleeve, download card included. Marrying psychedelic pop with folk and a touch of country, 'Earthling On The Road To Self Love' is the sublime debut album by Brisbane, Australia-based artist Baby Cool - the latest side project by Nice Biscuit co-front woman Grace Cuell. Cuell says of the record, which follows her debut single 'Magic' and tours with Babe Rainbow and The Lazy Eyes: "The songs on this album are deeply sentimental. I have a lot I need to sing about to help me make sense of this earthly pod I have been gifted. If in singing these words out loud, I can help others find solace in knowing that we're all out here flailing about in the cosmos, then it feels good to me." Recorded with Sam Joseph (Family Jordan), the songs on 'Earthling' were brought to life with the help of Jess Ferronato (Nice Biscuit), Nick Cavendish (Nice Biscuit) and Drew Heyden (The Flamingo Jones): "I had such a beautiful community of friends that helped bring this whole thing to life. There was magic and love in every part of the process of creating this album."

Sometimes, a change of view can transform a person’s world. On ‘Don’t Come Down’, the artist formerly known as Matt Pond PA can be found with his “shoulder on the concrete” of a pavement, scoping out the world anew. This granular realignment of perspective serves as an open door to the debut album from The Natural Lines. At once clearly Pond’s work yet a huge leap forward in its measured songcraft, melodic immediacy, collaborative detail and wryly questioning lyrics, the result is a gorgeous album of intimate reflections from a relocated, renamed, revivified talent.

Recorded with close collaborators and friends over a period that saw Pond make vital adjustments to his life, its stealth emergence reflects his desire to set a fresh pace for himself and come from somewhere new, somewhere more open.

Now based in Kingston, New York, with his partner and wild dog Willa, Matt explains the album’s gestation thus. “It was something different from the start. I wanted to write as purely as I could. Instead of getting stuck in the ‘tour, write an album, release an album, tour’ cycle, which is not a natural way of writing or living, I wanted to write an album and when it was done I wanted to make sure it was done. I didn’t want this feeling of, ‘Oh, we didn’t have time’, or, ‘I don’t know whether I believe in the songs but it’s coming out anyway.’ I used to be always racing to the finish line, but I’m not anymore.”

For Matt, the call to ring the changes came with the recognition of “a certain nihilism or narcissism” involved in making music. “In some ways, you have to get in your own head and I think I went too far with that, with drinking and shutting people out. In something that I believe is collaborative, it’s not helpful.”

“I quit lying,” he adds. “I checked my harsher tones. I cut my drinking down. I went to therapy and figured out how to stop shouting at cars.”

Car troubles inspire ‘No More Tragedies’, the album’s standout second track, where he wryly details his desire to dampen his twinned impulses to take pictures of license plates blocking his parking space or take bricks to said car windshields. Warming melodies and harmonies soothe his rage, a balance maintained elsewhere on the album.

A need for connection underpins the lilting ‘Alex Bell’, where Matt’s lyrics playfully reference the inventor of the telephone over a plaintive cello and bubbling keyboards – evidence of the album’s carefully nurtured arrangements. With nimble sequencing, ‘My Answer’ follows with a question: do artists really need to get messed-up to create? Matt may not have the answer, he admits, but he articulates the question beautifully, channelling the influence of Blue Öyster Cult’s ‘Don’t Fear The Reaper’ into a song of fleet, melodic electric-folk drive.

Featuring 17-year-old MJ Murphy on misty backing vocals, the softly insistent ‘Don’t Come Down’ is an album centrepiece, detailing a need to see things anew. Like The Flaming Lips writing a classicist piano ballad, the twinkling ‘Artificial Moonlight’ finds Matt writing late at night, illuminated by the lights from streetlamps. Finally, ‘Mahwah’ closes the album on a note of arrival. While Matt Pond PA’s albums emerged from the disconnection of touring and living in vans, Pond is now happily – cruel winters aside – ensconced in Kingston. “I have found a place I love. Mercury Rev lives near here. It is a cool place to be, an artistic, mountainous, wild place to live. So – maybe this is it.”

In the case of The Natural Lines, a sense of arrival suggests itself. For Matt, the album follows two decades’ worth of Matt Pond PA records and soundtrack works. In a career he once described as “a series of benign mistakes,” Matt travelled far, moving from his band’s starting point in Philadelphia to Florida, Oakland and beyond while releasing 14 well-received albums. In 2017, he declared his intent to retire the Matt Pond PA name, though it lived on briefly in the reissue of The State Of Gold and EPs such as Free Fall, a tribute to Philadelphia.

Now, the name change honours his collaborators. Among a revolving cast, one constant presence in his work has been Chris Hansen, who plays guitar, bass, keys, saxophone and vocals on The Natural Lines’ debut. Matt’s partner, Anya Marina, contributes vocals. Other band members number Hilary James (cello/vocals), Kyle Kelly-Yahner (drums), Louie Lino (keys), Sarah Hansen (horns), Sean Hansen (drums/bass), Kat Murphy (vocals) and, also on vocals, MJ Murphy, for whom Matt brims with praise: “She can do anything she wants to musically.”

A heartening rebirth for Pond and his friends, the result also pays warming, witty, reflective and infectious testimony to the value of reconfiguring one’s outlook. “Once I took control of my mind, I could see what I wanted to say more clearly,” says Matt. “Instead of random floods of mania and panic, I felt like I was composed and composing. It has become as simple as reading the words of a sentence in the right order. As small as the pause before I hit ‘send’.” A development, you might say, conducted along the most natural of lines.

The Stripped Sessions adds to Wage War’s already impressive and numerous career highlights including over 580 total million streams; hitting high marks on Billboard Charts and earning press raves from Revolver, Loudwire, Kerrang!, Alternative Press, Rock Sound, Modern Drummer, and 2021 covers from Kerrang! and UPSET.

Dass Jeff Goldblum nicht nur als Schauspieler Hollywood-Blockbuster veredeln, sondern auch als Jazzpianist glänzen kann, haben seine beiden erfolgreichen Decca-Alben aus den Jahren 2018 und 2019 bewiesen.

Seine ins Ohr gehende Mischung aus Cool Jazz, Swing und Entertainment macht Laune und versetzt den Hörer in eine virtuelle Cocktail-Lounge der Sixties.

Goldblums Erfolgsrezept sind auch immer seine musikalischen Gäste. Auf seiner neuen 6-Track-EP (Vinyl + digital) ist er nicht nur wieder mit seinem coolen Mildred Snitzer Orchestra zu hören, sondern hat sich
erneut interessante Gastsänger/innen eingeladen. Auf „Moon River“ ist Mattiel Brown vom Indie-RockDuo Mattiel zu hören, auf „Don’t Fence Me In“ die amerikanische Grammy-Gewinnerin Kelly Clarkson,
den entspannten Song „I Wanna Be Around“ versüßt der brasilianische Singer-Songwriter Rodrigo Amarante und den sinnlichen Track „Lazy Afternoon“ pfeffert Soul/Jazz-Legende Freda Payne.
Auf den beiden Instrumentals der EP kann sich Goldblum dafür umso mehr als swingender Pianist austoben.

On October 21, 2022, Merge Records will release Pigments, the debut collaboration between New Orleans electro-revival dynamo Dawn Richard and multi-instrumentalist, producer, and composer Spencer Zahn. Pigments is a project about the power of self-expression through living art, through motion. It's also a love letter to New Orleans, Louisiana. Not strictly classical, jazz or ambient electronica but rather a body of "movements," Pigments is an expressive soundscape that is an immersive passage through the city as seen through the eyes of a young Black girl with dreams to paint her future with the pigments given to her. Richard explains: "Spencer wanted to create one long piece of music that would ebb and flow around my lyrics and emotions, which tell a story of growing to love my own skin. I wanted my voice to be moss surrounding the roots of Spencer's compo - sitions, never forcing the moment to fill every space but rather reveling in the openness of thought and breath." Zahn agrees, saying, "I wanted to work with all these different textures, tones, and colors to have a new sound to frame Dawn's voice and lyrics. To hear a lone clarinet as the breath fades and a cello continues its melody to cue Dawn's vocal entrance is unlike any other record she has made. These are things that excite me as a composer but more as a listener. I hope that other listeners feel the same." Coming on the heels of Dawn Richard's critically acclaimed Merge debut Line, Pigments will introduce listeners to a different facet of Richard's outrageous talent and bring Zahn's thoughtful creativity to a new audience.

„Forever Forever“ ist das neue Album von Genevieve Artadi, der in L.A. lebenden Singer-Songwriterin, Produzentin, Bogenschützin und Dr. Mario-Liebhaberin. Artadi ist ein kreativer Tornado und bekannt für ihre Mitwirkung bei KNOWER, Expensive Magnets und ihrer früheren Band Pollyn. 2020 unterzeichnete sie bei Brainfeeder, um ihr Soloalbum, „Dizzy Strange Summer“, mitten in der Corona-Pandemie zu veröffentlichen. Im darauffolgenden Jahr arbeitete sie mit Thundercat, Raedio und Louis Cole an ihrem Track, „Satellite Space Age Edition“, für den Soundtrack der fünften Staffel von „Insecure“ (HBO). „Forever Forever“ umfasst eine wahrhaft kaleidoskopische Bandbreite an Einflüssen, die eine stilistische Eingrenzung unmöglich macht. Verwurzelt im Jazz, aber auch im alternativen Rock oder Avant-Pop, stehen sie in der Tradition der legendären Grenzgänger:innens Stereolab und Talking Heads. Artadi gehört zur unverschämt talentierten Crew, zu der auch Louis Cole, Pedro Martins, Sam Gendel, Sam Wilkes, Jacob Mann und Chiquita Magic gehören, die ein ähnliches Fundament aus klassischen und Jazz-Traditionen mit einer gesunden Punk-Attitüde und einer Leidenschaft für musikalische Hybridität und Fusion mitbringen. Sie gibt zu, dass es sie selbst motiviert, wenn sie von diesen talentierten Menschen umgeben ist, etwas zu schaffen. Die Hälfte der Songs für „Forever Forever“ wurde ursprünglich für eine Big Band geschrieben, da Artadi in Kontakt gekommen war mit der Grammy-nominierten Norrbotten Big Band aus Schweden, mit der sie als ‚Composer in Residence‘ tätig war und viele Male live aufgetreten ist. Auf der Suche nach einem „kreativen Funken“, so sagt sie, hörte sie Duke Ellington und Gil Evans mit Miles Davis. „Der Rest ist, glaube ich, einfach alles aus meiner Vergangenheit, was in meinem Unterbewusstsein ist.“, sagt sie. „Zufällige Inspirationsblitze von Chopin, Bach (ich habe während des Lockdowns einige zweistimmige Inventionen gelernt), Debussy, Nancy Wilson, Björk, Ryan Power, Nobukazu Takemura, den Beatles, Dionne Warwick…”

With French Connection, discover rare tracks of Funk, Soul and Jazz made in France. 23 avant-garde nuggets from the 60"s and 70"s gathered in a nice double vinyl! With: Cortex, Janko Nilovic, Godchild, Francis Lai, Bernard Estardy, Philippe Sarde, Edition Spéciale, Bruno Leys, Jean-Claude Petit, Serge Gainsbourg...

By the time Lalo Schifrin composed the soundtrack for Frank Perry's psychological thriller in 1974, starring Cliff Robertson and Joel Gray (who'd just won an Oscar for his role in Bob Fosse's Cabaret) he was Hollywood royalty having worked on such iconic films as Bullitt and Dirty Harry. Perry on his side, had caused a stir with The Swimmer in 1968 starring Burt Lancaster (although he would dismiss the film after being fired from the production) and followed up with a string of great cult movies including ‘Last Summer’ (1969), Diary of a Mad Housewife (1970) starring Carrie Snodgress - whom Neil Young famously fell in love with upon seeing the film and "Play It as It lays" in 1972, adapted from Joan Didion's eponymous novel.

Breaking from the social dramas from of his previous films, Perry decided to shoot a thriller based on journalist William Arthur Clark's book "The Girl on The Volkswagen Floor." The film follows a police officer investigating a murder with the help of a strange ambiguous clairvoyant played by Gray. For the score Perry went to Lalo Schifrin who'd just come out of a bad experience on The Exorcist working with William Friedkin who'd rejected his music in favour of Tubular Bells by Mike Oldfield! The score was recorded in LA with the Wrecking Crew and, although the full line up is not known, it included Emil Richards, Howard Roberts, Bud Shank and of course Schifrin on piano.

'Man on a Swing' is pure undiluted Schifrin from the early 70s. The score plays like a long suite alternating Bossa Nova ("Juke Box Source"), Lounge Jazz ("Trip to LA") and groove ("FM Groove") with superb "suspense” soundscapes like "Rosehaven Hotel". The label has gone back to the Paramount 3-track tape transfers and come up with an updated tracklist (a CD version briefly appeared in the 2010s) - re-sequenced and augmented with a handful of bonus tracks and alternate takes. A highlight is certainly "Radio Source Rhythm" which, losing the guitar and organ, reveal a jaw dropping funk breakbeat that is in the league of Dirty Harry and Enter the Dragon. This and the whole soundtrack, will ravish all the funk diggers and Lalo Schifrin fans around the world.

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Yellow Vinyl

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.