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Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

Kumio Kurachi is a Japanese singer-songwriter who has been active since the 1980's.

This is his 11th solo album and only the second to be released outside of Japan following ‘Sound of Turning Earth’ (2018) on bison. Though his songs are written and performed primarily on guitar, “Open Today” is a return to Kurachi’s full, multi-instrumental recording style - featuring drums, bass, strings, keys and Kurachi’s rich, distinctive vocals in multiple voicings. Incredibly, all instrumental performances and arrangements were performed and recorded by Kurachi himself - marking a brilliant return to the fully fleshed out visionary world we fell in love with on Supermarket Chitose (Enban, 2006). The super fine detail and dense landscapes of ‘Open Today’ should come as no surprise really - Kurachi is an illustrator by trade and it bleeds right through to his music. Even to the non-native speaker Kurachi’s vocals hold centre stage - at times enormous and thundering over urgent guitar and toms, then switching to softly spoken words amongst keys. Frequently Kurachi multiplies, whether multitracking himself or summoning voices for the characters he writes from sightings on train platforms or supermarkets. His lyrics - translated to English for both formats - are more like poetry, and though written about the mundane they quickly become surreal, bringing the quality of dreams into the everyday. The hours spent on buses, trains or walking home towards a cheap flat - familiar to us all - are catalysts for microcosms of detail.

Again, we shouldn’t be surprised - Kurachi is well known in Japan for winning the national championship of NHK's "Poetry Boxing" in 2002, which also might explain his amazing Discogs photo. Poet, illustrator, multi-instrumentalist - Kurachi is thought of by many as a genius. He’s worked with Jim O’Rourke, Tori Kudo, Eiko Ishibashi and Taku Unami (who did the mastering on this LP). There are lines to be drawn between Kurachi and Kazuki Tomokawa or Kan Mikami, but also Francis Plagne and Fairport Convention.

Ultimately though there is nothing else like it - it’s a brand of strange songcraft that’s totally captivating.

En Esch's corrosive new album decimates both standards and dance floors alike.

Anyone familiar with industrial luminary En Esch and his essential work in groups like KMFDM and PIG knows he is no stranger to political statements through his art. Now, on his first LP in eight years, Dance Hall Putsch, Esch decimates your standards and dance floors with vitriol. With carefully-sown and complimenting features from fellow KMFDM alumnus Raymond Watts, Guenter Schulz and Mark Durante, plus Vas Kallas (Hanzel und Gretyl), Mea Fisher and Erica Dilanjian (Lords of Acid), Hope Nicholls (Pigface) and more, Dance Hall Putsch delivers everything an industrial fan could want. From opener "Get Lost," with its categorically punishing industrial-metal riffs to the slicing EBM electronics of "Yum Yum Beauty & The Nasty Thief," it's all here and in no less than four languages throughout. En Esch's signature rasp is often contrasted by the sparkling vocals of his female counterparts, and the album is lush with brutal honesty, humor, and even a bonus En Esch-lullaby.

"I began work on Dance Hall Putsch in the early days of Covid-19. I was trying to create an upbeat, rather positive and very danceable album to leave the pandemic days behind us. Then it happened that a war began near where I live with tens of thousands of civilians killed and wounded so far. Everyone was caught by surprise and it influenced me, especially lyrically. "This current conflict is just 500 miles away from Berlin, and while that does not make it more horrific than other wars, it is very close to home. From living with this 'war next door,' the album turned out much more sinister than originally planned. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us. It's always the innocent and those who hold no power that suffer the most. Their fate isn't always death, but many times indescribable and long-term suffering. We must not forget them or turn a blind eye. "I’m very pleased that I had the opportunity to collaborate with different and interesting colleagues here. Thanx everybody for your interest in my musical works and for your love and support."

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Allt II: Cuimhne is a collection of newly composed settings of Irish and Scottish Gaelic poems and tunes - This recording forms the highly anticipated second release from the quartet featuring Julie Fowlis, Eamon Doorley, John McIntyre and Zoe Conway.

Cuimhne, the Gaelic word meaning a memory, a record, a memorial or a recollection, is a fitting title for this work, as the quartet are taking inspiration from the memories of Gaelic tradition and reworking and reframing them into a contemporary setting.

Poetry has been the dominant medium of art in Gaelic culture for hundreds of years and aligned with it is a tradition of setting music to poetry. Inspired by this, the quartet have created melodies which add an extra dimension to the lyrics that allows us to experience the emotional power of language.

With the addition of newly composed instrumental music, this album truly takes us on a journey of the shared heritage of Ireland and Scotland, Eire is Alba, and showcases the immense beauty of our traditions.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

All music written, arranged and performed by 1000mods
Lyrics by 1000mods
Produced by Matt Bayles & 1000mods
Mixed by Matt Bayles
Engineered by Matt Bayles
Recorded at Sierra Studios, Athens, GR
Studio personnel: Christos Achladiotis and Kostas Spiropoulos
Piano recorded at Electric Highway Studio by John Vulgaris
Mixed at Red Room, Seattle, WA
Mastered by Brad Boatright at Audiosiege, Portland, OR
Artwork by Eva Mourtzi
Designed by Ouga Booga Crew

Hammond and piano on Love, Grey Green Blues and Bluebird by Jiomy Amaranth
Additional Guitar on Götzen Hammer by John S.
Additional vox on Götzen Hammer by Api
Backing vox on Overthrown by Amie
Chelo οn Bluebird by Nikos Veliotis
Semantron on Götzen Hammer by Panos Z

Who is Isabelle Lewis, anyway?

What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?

Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.

Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor - keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.

But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.

Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.

Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament. It is just another of many ways in which Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.

The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”

But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.

And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.

Oh—Isabelle says hi, by the way. She’s looking forward to meeting you.

Pat Kelly possesses one of the great soul voices to come out of Jamaica. Influenced by the fantastic American singer Sam Cook, Pat Kelly could ride over any tune that came his way and with his outstanding falsetto voice always added a little magic to each recording.

Pat Kelly (born 1949,Kingston, Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of the Techniques, his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin. Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 position in Jamaica for six weeks. Their next hit was another Curtis Mayfield cover of the Impressions 'Minstrel and Queen' again retitled for the Jamaican market as 'Queen Minstrel'. Further hits followed with such cuts as 'My Girl' and 'Love is Not a Gamble' before in 1968 Kelly decided to become a solo artist and hooked up with producer Bunny Lee. Bunny decided not to break the tried and tested formula and put Kelly on another Curtis Mayfield track 'Little Boy Blue' a style that
suited his voice so well. This paid dividends and was followed with 'How Long' (will I love you)' which gave them the biggest selling Jamaican hit of 1969. A track which broke the mould in that often used tradition where Jamaican tracks are sweetened
for the foreign markets by adding string arrangements. This was reversed on this occasion as the tune had already been released in the UK and dubbed over with strings so came back to the Jamaican shores and released there.
Another string to Pat Kelly's bow was his engineering skills. Having already spent a year in America studying electronics he put this to good use and became little known to many
one of the chief engineers at Channel 1 studios in the late 1970's and early 1980's.

For this release we have focused on the fabulous singing skills of Mr Kelly and have compiled some of his finest recording moments for your listening pleasure. The aforementioned timeless cuts to 'How Long ( Will I Love You )', 'Little Boy Blue'
alongside some other killer lost classics, as our set opener 'It's a Good Day', 'Somebodys Baby', 'Give Love a Try' and 'I'm In the Mood for Love'. His version of 'Twelfth Of Never' in a Rocksteady Style sounds as good now as it did then. We have
also included his interpretation of the James Carr soul hit 'Dark End of the Street' which has Pat Kelly working over the same rhythm as 'How Long' but giving it a different slant
with these fresh lyrics. A fine set from one of the Islands finest, Jamaican Soul indeed... hope you enjoy the set.

Way back in 2008 Soul Junction released a 45 on Duane Williams “Yes My Love Is Real” with Duane being one half of the Detroit husband and wife singing duo Beverley and Duane. The duo under the guidance of their lifelong friend Will Hatcher recorded six songs of which two “ We Got To Stick Together” and “Glad I Got You Baby” were picked up by local Detroit label president Woodrow ‘Woody Wilson for release as a 45 single on his Fee label. The popularity of the 45 was to attract attention from the major Ariola label, who picked it up for national distribution during 1978 leading to the subsequent Ariola album ‘Beverley & Duane”. As the 1980’s dawned Beverley and Duane recorded a solitary 45 single for the independent Detroit Brown Bomber label “Love/You Belong To Me”. The label was owned by John L. Barrow a nephew of former heavyweight boxing champion Joe Louis, (Brown Bomber being Louis’s nickname). Beverley and Duane later moved to the west coast until their amicable divorce which led to Duane returning to his native Detroit to reacquaint himself with his former mentor Will Hatcher. This meeting of old friends led to the creation of Duane’s first solo project which Will brought to Soul Junction in late 2007. Hot on the heels of Duane’s hugely popular Soul Junction 45 came his subsequent CD album “These Songs Are For You” (SJ5001) released in 2009. Contained within this album was the very pertinent gospel/social commentary song “Father We’re Having Trouble” a song which two very close and knowledgeable friends of mine the late John Anderson and Bill Randle claimed had all the right ingredients for a potential hit record. Over the ensuing years this song has always remained in my thoughts until a few years ago I broached the idea with my good friend Jesse James recording a cover version of it, Jesse upon hearing the song was very receptive to the idea. Another period of time elapsed before we again reignited the idea. A decade or so on from Duane’s original version and the lyric’s of this particular song still remain as pertinent as ever, if not more so! During early 2020 Jesse entered, Con Funk Shun multi-instrumentalist and vocalist Felton Pilate’s Felstar Studio in Atlanta to lay down the basic tracks with Felton acting as co-producer on this project. Everything was progressing nicely until a worldwide pandemic intervened. With Jesse locked down in his new home on the West Coast and Felton in Atlanta the project unfortunately came to a holt. During this enforced period of inactivity further racial and political upheaval occurred which only added more poignance to the project. Eventually with the lifting of lockdown restrictions Jesse finally made it back to Atlanta to finish the project, the fruits of which you have before you now.

For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert highlands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each track's central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lion's Skull and Hibernaculum sessions).

Zwischen Poetry und Freestyle: Harry Dean Lewis' Debütalbum Threes sides to a coin
Irgendwo zwischen, innerhalb und außerhalb von Indie Pop, Soul und Rap sind die 11 Stücke verortet, aber immer mit einer grandiosen Hook im Gepäck. Über den Umweg Berlin ist der Australier Harry Dean Lewis während der Pandemie nach Wien gekommen. Nach Kollaborationen mit u.a. Joe Traxler oder Girondolini regiert auf seinem Debütalbum Three sides to a coin der Groove und sein unverkennbarer lyrischer Stil.

Coming off a successful transatlantic exchange, Brian Kage and his Michigander label keep the momentum, and the collaborative spirit, moving with an EP that hits closer to home. For any Detroit artist, working with Delano Smith would be on the bucket list, as one of the city's original, more influential DJs — before the D developed any of its "waves" — who would come into his own as a producer later to, once again, help mold the Techno City's sound. Make no mistakes about it, this tastemaker had a ripple effect back before techno even had a name, when it was just "progressive" music and mixing. The thing is, the feeling of admiration and respect here is mutual, from the moment Smith first stumbled across one of Kage's records and had to know who was making these sounds. This meeting of the minds happened organically and timely, with Keep 'em Movin’ as the result.

Opening the release is the title track, a driving number with pulsating synth tones and deep, call and response piano stabs. The ever so slightly pitched down vocals are modern and effortlessly cool, a style that resonates with today's dancefloors, but done tastefully, and with lyrical content that sets the record straight about what it really means to represent Detroit.

"D Spirit" takes an ancestral turn. This is spaced-out Detroit techno meets afro deep at its finest. Forward moving keys are bathed in deep, celestial pads as shuffling hats accented by light hand percussion beckon the body to move. Lively marimbas cut through the hypnotic undertones and awaken the senses with soulful appeal. A fluid bassline rumbles beneath while baroque pianos add tension and heighten the atmosphere.

The final track rounds the release out with an exclamation mark. For lovers of Delano Smith's infamous remix of "A

Andrew Funk'B Records proudly presents Stylistic Murder, a dynamic collaboration featuring some of hip-hop's most influential artists: KRS-One, OC, AZ, and Onyx. This special release brings together raw lyricism and classic beats on a striking grey vinyl edition, offering a nostalgic yet timeless sound.
The limited Grey Vinyl Edition enhances the collectibility of this release, catering to vinyl collectors and hip-hop enthusiasts alike.
This release stands as a celebration of authentic hip-hop culture, with legendary artists representing the genre’s core elements—lyricism, knowledge, and realness.

Moondog's jovial H'art Songs was the first release not to incorporate his name in the title, but the record that forever proved his genius. A rare vocal album recorded by Moondog when he was in his sixties, these ten art songs blur the boundaries between classical and pop music. Moondog called this series of art songs "H'art songs" - Hardin's art songs. The musical content is on a higher level than most popular music, but has an appeal to a wide range of tastes, from the pop to the classical listener. This collection of piano pop songs written and recorded in 1977 made Moondogs' stunningly eclectic discography even more chaotic musically. It also featured some of his most mesmerizing wordplay. Telling tales that can be interpreted as metaphors for how to live - sometimes political, sometimes autobiographical, sometimes nature loving - they are always intriguingly poetic, and helped push this album to the very top of all Moondog'sreleases. "My singing style is without vibrato, as is the singing style of most of the people in the world. The voice part I have kept simple, intentionally, so that I and many others who like to sing such songs, including the barbershop quartet people, would be able to sing them. As I did on the record, the voice part should be sung by one voice or in unison, but not in harmony, because the harmony is exclusively in the piano parts, which are more complicated than the voice parts, especially in the canons and the obligati, which carry the main melodic burden." "Moondog singing Moondog? Really! even goodness knows, Moondog doesn't sing a song; he shows you how it goes." - Louis T Hardin aka Moondog. First time on Vinyl since 1978. Inner sleeve with lyrics to sing along to. Album liner notes by Moondog.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist." `Tsukino', Mei's debut, self-released EP, is being released physically for the first time ever on Bayonet Records! The EP will be released by itself on CD & Tape formats, and will be included in a vinyl pressing on the B-side of Semones' landmark EP, `Kebutomushi'! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

Presented for RSD Black Friday as a double LP in a gold coloured vinyl. pressing housed in a deluxe gatefold jacket with full-color OBI strip. Also includes a four panel full color insert with lyrics. In 1999 Wu-Tang Clan’s Raekwon issued the follow up to his now legendary solo debut Only Built 4 Cuban Linx with Immobilarity. Dropping in November of 1999 the record hit the Top 10 on US album charts and was certified gold by the RIAA within a month. For the 25th anniversary of this landmark recording Get On Down presents Immobilarity as a double LP in a never to be repeated gold vinyl run housed in a gatefold jacket with lyrics included and topped off with a collectable OBI.

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

Dalton was a band from Tunis, the capital of Tunisia. They came together as a band around 1968 when most of the members studied together at the University of Tunis. The band had five members. Faouzi Chekili on guitar, piano and vocals, Ridha Kouhen on bass guitar, Mustapha Rehouma and sax and percussion, Sadok Gharbi on trumpet and vocals and Skaner Alim on drums and vocals. They were active in the local scene, playing music that was heavily influenced by American soul and funk and at the same time regional musical traditions. In the early 70s the band got a regular gig at a beach hotel called Sahara Beach Resort on the coastline of Tunisia. They had six month contracts for a couple of years in the early 70s and during that time they would play every single night of the tourist season. While the hotel gig required the band to play sets leaning towards tourist entertainment, the regular work helped put some money into the band's accounts. Using those funds the band was able to travel to Rome to record their one and only 7' single release "Alech" around 1971/1972. The band eventually dismantled in the mid 70s and returned briefly as a new group with new members in the late 1970s under the name Carthago but that is a different story.
"That "Soul Brother" is my jam.... !!!!" Lefto
The single itself impressed us heavily when we first stumbled upon it through French collector Victor Kiswell. While the b-side "Soul Brother' sounds like a Tunisian version of modern soul / AOR with it's English lyrics and lush arrangements, the title track "Alech' is the one that will get every party started. An infectious 3/4 rhythm, a great horn arrangement and brillantly layered vocals that made us think of Brazillian music or the Georgian groove band Gaya. Luckily Faouzi Chekili, the former band leader and composer uses social media communication so he was easy to track down. He is still active as a renowned musician in the Tunisian jazz scene and remains active recording and playing concerts both in Tunisia and internationally.

Repress!

Miso Records are excited to present a very limited edition re-press of Charles Webster's classic 2001 album ' Born on the 24th of July ' .

Originally released on Peacefrog Records, this album still retains it's sonic and lyrical relevance after 20 years.

Charles released his very successful new artist album Decision Time in 2020 at the height of lockdown, so we figured it was time to make his first 'solo' album available once again, this time on lovely orange vinyl.

Born on the 24th of July features vocalists, Terra Deva, Steve Edwards, Sara Jay amongst many other special guests.

Posthumes Album des 2023 verstorbenen Poeten und Sängers, der u.a. Co-Autor war von Cream's größten Hits 'Sunshine Of Your Love', 'Politican' und 'White Room'.

Feat. Eric Clapton, Joe Bonamassa, Clem Clemson von Humble Pie, Arthur Brown und viele mehr.

Ikonisch und brillant, heißt es in der Musikbranche, wenn der Name Pete Brown fällt. Er gilt als wahrer Lyriker unserer Zeit.

- Ltd. Col. LP: (Red Brown Marbled Vinyl)

Hubbard was only 22 years old when he recorded the album, yet it showcases his prodigious talent and hints at the remarkable career he would go on to have

The album has become a classic in the hard bop genre, combining elements of bebop and blues with advanced harmonies and improvisational flair and features a stellar lineup of musicians, many of whom were already influential figures in the jazz world or would go on to become so Freddie Hubbard, Tina Brooks, McCoy Tyner, Sam Jones, Clifford Jarvis. "Open Sesame" is rooted in hard bop, a jazz style characterized by a mix of bebop's fast tempo and complex improvisations with blues, gospel, and R&B influences. Hubbard's trumpet playing is both aggressive and lyrical, marked by his technical precision and emotive phrasing. His performance is complemented by Tina Brooks' soulful tenor saxophone and McCoy Tyner's distinctive piano comping, which adds a rich harmonic layer. The album's compositions range from the upbeat and fiery title track "Open Sesame", to the lush ballad "But Beautiful", and the bluesy groove of "One Mint Julep". The track "Gypsy Blue", written by Tina Brooks, is a highlight with its sophisticated chord changes and melodic inventiveness. Open Sesame received critical acclaim upon release and established Hubbard as one of the premier trumpet players of his generation. It's considered a cornerstone of Hubbard's career and a significant recording helped launch Hubbard into a long and successful career where he would collaborate with some of the biggest names in jazz, including Art Blakey, Herbie Hancock, and Wayne Shorter and remains an essential listen for anyone exploring Freddie Hubbard's discography.

Hailing from the West side of St. Louis, Missouri, Mikahl Anthony’s sonic roots spread far across the global Alt-Soul / Hip-Hop scene. A highly soughtafter multidisciplinary artist (who has collaborated with the likes of Mick Jenkins, Chance The Rapper, Joey Purp, Smino and more), as well as being a founding member of Chicago’s THEMpeople collective, he now prepares to unveil his masterful full-length debut Muse via R&S Records.

Accompanied by several beautiful, self-directed film pieces, Muse is a record with storytelling at its core. Interspersed with commentary from a range of sources telling their stories to Mikhal, whilst collaboratively analysing their personal experiences, it speaks a candid and honest narrative, which reinforce the heartfelt lyrics within. With the project’s name anchored around a dual meaning acronym (1. Ms. Using sensual energy and 2. Making use of seclusion every day). The record is an audio version of docufilm, that creatively interprets the idea of self-therapy, an internal/interpersonal reflection of life experiences that serendipitously connect to Mikahl’s personal romantic relationships. Mikahl explains: ‘I wanted to use a unique style of songwriting, arrangement and filming with the intention of soundtracking my self-development/maturation process’.

On the project’s lasting impression on the listener, Mikahl elaborates ’The exploration of inner truth and vulnerability is key to the future of good music. I want this project to act as symbolism that highlights the mantra that honest approaches and authenticity still has the most value. I also want people to see how important the use of community is when you can connect them to your subject matter...I'd like my audience to observe and engage in their own self-reflections, approaches by way of listening or interacting with the story.’

Drifting to an elevated state of consciousness, Muse is a deeply intoxicating and engrossing listening experience from front to back. From the sliding, kaleidoscopic shadows of opening track ‘La Flare’, via the trepidation-laced atmosphere of ‘Polyamorous’ and the hazy, reverb drenched saxophone notes of LP closer ‘Eddie Kane’ - Mikahl channels moments of joy and pain, infused with spirit enriching instrumentation and gritty textures.

Visual stimuli play an integral role within Mikahl’s music. His songs represent transparency and openness dipped in funk. Layers of soft velvety vocals emerge from jazz harmonies, trap rhythms, and social commentary sourced from voiceovers/excerpts. His creations are the musical representation of documentary films. His art is imagery embodied.

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

Emilia Sisco returns with a stunning new vinyl single, "Your Girl" b/w "Too Late" featuring two captivating tracks written by Sisco herself and performed by the exceptional Cold Diamond & Mink studio band. On the A side, "Your Girl" introduces listeners to a breezy and mellow soul ballad that radiates warmth and optimism. This track showcases Sisco's ability to craft heartfelt lyrics paired with a soothing melody that effortlessly captures the essence of a perfect soul record. Flipping to the B side, "Too Late" offers a more somber and introspective ballad, characterized by its minor key mood. This track continues Sisco's tradition of delivering emotionally resonant music that speaks to the complexities of love and heartache. The subtle yet powerful arrangement by Cold Diamond & Mink provides the perfect backdrop for Sisco's poignant vocals, making it a standout addition to her growing discography on Timmion Records. With these two new songs, Emilia Sisco solidifies her place as a forceful creator in the contemporary soul scene. "Your Girl" and "Too Late" highlight her ability to convey deep emotion through her music and pave the way for more upcoming work together with the Timmion crew. Sisco's voice alone is starting to signify a stamp of quality that makes this record an essential addition to any soul buffs collection.

Mit ihren bisherigen drei Alben ‚Rock Brigade‘ (2016), ‚Fahrenhater‘ (2018) und ‚9112‘ (2020) im Gepäck sind Fire Action alles andere als reine
Newcomer, sondern bereits fester Bestandteile der finnischen Metal-Szene. Dennoch wird ihre internationale Karriere mit der neuen Scheibe ‚Until
The Heat Dies‘ und der Vertragsunterzeichnung beim renommierten deutschen Metal-Label Steamhammer/SPV zweifelsfrei an Fahrt aufnehmen.
Dafür sprechen gleich mehrere Argumente, das wichtigste davon: Musikalisch hat das Quartett um Gitarrist Juri Vuortama und Sänger Pete Ahonen
einen wahren Quantensprung vollzogen. Elf traditionelle, zugleich abwechslungsreiche Metal-Songs, vom groovenden Opener ‚Storm Of Memories‘
bis zum hymnischen Finale ‚Midnight Avenue‘, unterstreichen die große Weiterentwicklung der Gruppe auf ‚Until The Heat Dies‘, das Vuortama kaum
zutreffender hätte beschreiben können: „It´s riffs, riffs and riffs, and great melodies on top of it!“, erklärt er das knappe Dutzend neuer Songs.
Veröffentlicht wird die Scheibe am 29. November 2024 auf CD und LP sowie als digitaler Download. Bereits vorher werden Fire Action drei Singles
auskoppeln: Am 20. September 2024 erscheint der Song ‚Hard Days, Long Nights‘ inklusive Lyric-Video, gefolgt von ‚No Drone Zone’ plus Video am 25.
Oktober 2024 und ‚Survive‘ (ebenfalls inklusive Video) am 22. November 2024.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

Khana Bierbood’s second studio album after their following the release of their debut LP ‘Strangers From The Far East’ in 2019, in 2023, Go (Kikagaku Mayo/Guruguru Brain) joined the band at TMM studios in Bangkok and together they recorded this, their second studio album, ‘Monolam’ (meaning unique in sound and style).

While the album maintains the infectious rock’n’roll charm of their previous offering, it shows a departure toward an even more sublime and groovy psychedelic sound - a sound that pays homage to their passion for the past and their longing for a new cultural renaissance. Lyrically, the songs speak of the life experiences of the band, combined sometimes with stories from Thai movies and dramas, telling tales of love, loss and adventure.

The album SABABU is a vibrant ode to the quest for the opportunities that shape our existence. We are invited to seize the infinite chances open to us, capable of leading us to unsuspected horizons if we know how to recognize them. SABABU is a captivating blend of haunting rhythms and deep ballads, combining traditional heritage with contemporary sounds.

Aboubakar Traoré's heartfelt cries are both passionate and demanding, and he takes on universal themes of injustice, love, heritage and the quest for freedom. Through powerful lyrics, he denounces the exploitation of African resources, political and economic domination, while celebrating the resilience of peoples and the richness of traditions.

But SABABU is also an ode to life, love and the strength of family and community ties. Carried along by a deep groove, the album takes the listener on a musical journey where intimate emotions and collective reflections mingle, creating a bridge between past and present where each rhythm resonates as an invitation to move, to come together, and to celebrate life.

Debut album "Tama Tama" was nomitad by Octaves de la Musique 2021 and the band was selected to showcase at Visa For Music (2023) in Morocco and Belgian Worldwide Music Night (2023) in Brussels.

DERO GOI kehrt mit einem Paukenschlag zurück! Der ehemalige OOMPH!-Frontmann liefert mit "1984" ein bis zum Rand mit Synthie-Hits vollgepacktes Doppelalbum ab. Das Debüt seiner Solo-Karriere ist zugleich sowohl in musikalischer als auch lyrischer Hinsicht ein starkes Statement zu seiner künftigen Ausrichtung als Künstler. "1984" bietet eine faszinierende Verschmelzung von feinen Retro-Synth-Sounds, EBM und Synth-Wave mit zeitgenössischen elektronischen Elementen, die sogar mit einer Prise seines früheren Lebens als Rock- und Metal-Musiker gewürzt ist. DERO GOI, der schon immer als herausragender Songwriter gefeiert wurde, hat sein musikalisches Handwerk noch weiter verfeinert. Die Songs dieses umfangreichen Werks werden ihre Hörer zum Tanzen und Mitsingen bringen und sich als Ohrwürmer in den Köpfen festsetzen, wo sie noch jahrelang feiern. DERO GOI bleibt dabei seinem unbeugsamen Willen treu, als nonkonformistischer Künstler zu arbeiten. Sein Coming-out als wiedergeborener Christ, der jeder organisierten Religion nach wie vor kritisch gegenübersteht, und seine libertäre politische Einstellung haben ein breites Spektrum von Reaktionen hervorgerufen. Dazu gehören leider auch massive Hindernisse bei der Suche nach einem Label und einem Booking-Agenten. Zudem musste der Künstler erleben, dass bereits bestätigte Konzerte nur aufgrund seiner Meinung wieder abgesagt wurden. Das wirft die unbequeme Frage auf: Wie tolerant ist eigentlich eine Szene, die sich rühmt, für jede Gesellschaftsschicht und jeden Lebensstil offen zu sein, wenn diese Werte einer kritischen Probe unterzogen werden? Natürlich haben auch Worte Konsequenzen und jede Freiheit hat ihre Grenzen, aber was ist mit einem Künstler, der fest auf dem Boden der Verfassung seines Landes steht und keine Gesetze bricht? Beinhaltet Freiheit nicht auch das Recht auf Widerspruch gegen den Zeitgeist? Dass DERO GOI bei Themen eine andere Meinung vertritt, ist kein Verbrechen. Bevor der Musiker, der am 16. April 1970 als Stephan Musiol in Wolfsburg geboren wurde, im Jahr 1989 OOMPH! gründete, spielte er bereits im Alter von 15 Jahren in einer Band mit seinem Freund Thomas Döppner (alias OOMH!-Gitarrist und Mitbegründer Crap), als beide noch Gymnasiasten waren. Seine musikalischen Einflüsse zeigen einen offenen Geist für stilistische Vielfalt. DERO GOI zählt unter anderem D.A.F., NITZER EBB, FRONT 242, THE CURE, FAITH NO MORE, KILLING JOKE, EINSTÜRZENDE NEUBAUTEN, AC/DC, DEPECHE MODE, EXTRABREIT, KRAFTWERK, THE BEATLES, ELVIS PRESLEY und ABBA zu seinen musikalischen Vorbildern. DERO GOI hat mit seinem neuen Werk einen Weg eingeschlagen, der elektronischer ist als die meisten seiner bisherigen Songs. "1984" ist das Zeugnis eines Künstlers, der sich einer breiten Palette diverser Einflüsse bedient, der aber zugleich auch seine weithin respektierte Fähigkeit, äußerst eingängige Melodien zu schreiben, noch weiterentwickelt hat. Was auch immer die Hörer von diesem massiven Beitrag zur elektronischen Szene halten werden, DERO GOI wird sich als Sänger und Künstler nie den Mund verbieten lassen. Liebt oder hasst "1984" - aber was auf diesem Album zu hören ist, wird immer zu 100% DERO GOI bleiben!

Canadian band the Holiday Crowd as part of the Snowflakes Christmas Singles Club, it was a match too good to not be made. The Toronto, Ontario-based indie rockers formed in 2010 and released a mini-album, a full-length and a 7" between 2012 and 2016. In 2022, the group returned with a new single, 'Party Favours', like their other records released by Portland, Oregon label Shelflife Records. Despite being Canadian, the band's sound is heavily influenced by British indie rock of the 1980s and early 1990s. For their Snowflakes Christmas single, the original four members of the band, lead vocalist Imran Hanniff, guitarist Colin Bowers, British-born bassist Alex Roberts and drummer David George Barnes, reunited to write the original 'Winterland'.

Winterland' takes you right back to the 1980s with its jangly guitar, rolling bass, pounding drums and Imran's warm vocals. The song seems to look back on childhood memories, but the parts about the heart that turned to coal, the last-minute shoppers and the 'graveyard malls' show that there is a deeper meaning to the lyrics. The single's B-side 'Hard Candy Christmas' was written by Carol Hall for the 1978 musical 'The Best Little Whorehouse in Texas'. The song became a hit for Dolly Parton in 1982 when it was featured in the movie version of the musical in which she starred. The Holiday Crowd's reworking of the song perfectly captures the melancholy of the original, with its message of focusing on the sweet things in life, even when times are hard. The single is released on snow-white bio-vinyl in a sleeve with a playful design by Kenichi Ueda and limited to 300 copies.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

Formed in 2019, Lawne is the result of a meeting of minds between old friends and self confessed music nerds Joe Nicklin and Joe Martin. Their sound draws upon myriad influences with dub, electronics, hip hop, psych, jazz, post-punk and Afrobeat all somehow ingrained within the mix.

It's something that evolved during at a time of change for both of them, as Joe Nicklin explains:

"The start of this project coincided with me moving onto a canal boat, which was a hugely rewarding time of my life but not without its challenges. You can hear some of my boating vents coming through in the lyrics of Beta Pan and Ame Tova.

Another challenge during this time was trying to figure out a way of still playing and recording drums that wasn't going to break the bank. I decided to start renting a tiny storage space near Caledonian Road in North London, that I would convert into a makeshift studio and soon learned that corrugated iron sheets aren't the best walls for a drum booth. My friend cut me some curtains and a few egg boxes later we were able to insulate the thing, sort of.

These limitations meant that we had to keep recordings pretty simple and I feel like this set the tone for the whole record. Whether it was digging out my childhood bass guitar for Joe to play, squeezing every last drop out of Logic presets or mumbling into a SM57 for the first time, we made do with what we had and I'm proud of the charming thing we were able to create. I felt like I was learning on the job at times for this album and I'm grateful for what it has taught me, whilst being excited for what we can do next. As I was moving off the water and out of my lockup, the album masters were also starting to trickle through. A fitting close to that chapter of my life and the making of our first album."

Joe Martin reflects more on how their unique sound came about:

"It's interesting thinking back to the sound we were exploring when we first started writing together, and how different much of the record is to that original sound. We didn't set out a clear musical direction and that meant we were rarely constrained stylistically, we could shift between genres and feels and grooves, take inspiration from the new and the old and it still sat comfortably with what we were trying to do. I think the eight tracks we landed on illustrates that nicely.

The record's named after the self storage unit we used as a studio for many years, there's something quite poetic about parting ways with the space within weeks of the album coming out; a final homage to the place it all started."

Stabbing Westward’s 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil.

The standout singles “What Do I Have to Do?” and “Shame” propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balanceof angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era.

Wither Blister Burn + Peel is a limited edition of 1500 individually numbered copies on red and black vinyl.

Sophie Zelmani’s 2010 album I’m the Rain is a delicate and introspective collection of folk-inspired tracks, reflecting her signature soft vocals and acoustic sound.

The album blends minimalist arrangements with heartfelt lyrics, creating a soothing, atmospheric listening experience.

Standout songs like “You Can Always Long For May” and “If I Could” highlight Zelmani’s poetic songwriting and emotional depth, exploring themes of love, loss, and introspection. Her subtle use of acoustic guitar, gentle melodies, and whispery vocals evoke a sense of calm and reflection throughout the album. I’m the Rain solidifies Zelmani’s reputation for creating deeply personal and timeless music. For fans of intimate, folk-inspired singer-songwriter styles, I’m the Rain is a must-listen, offering a tranquil escape into Zelmani’s beautifully crafted world. I’m The Rain is a limited edition of 1000 individually numbered copies on white coloured vinyl.

In 2012, Army of God released a cult cut of cold wave: “Salvation”. This was the only EP by the partnership of Aroy Dee and Miss Jagroe, the only EP until now that is.

Army of God are back, after more than a decade the duo return with Endless Skies. Analogue warmth is sliced by surgical synth stabs and bittersweet strings, Jagroe’s unmistakable voice echoes into the distance with the beseeching mantra of “until the music dies”. Aroy Dee’s edit of the title piece fortifies drums for the floor, emotion is further stripped from the already deadpan lyrics as melodies bleed into distorted wonder. The black streak that characterises Army of God turns a shade darker for the flip. A throbbing bass is inked by off-kilter keys, clusters of claps piercing the thicket of static and chilling chorus of “Fear the Night”. Venturing ever deeper into the night, the darker version will set speaker cones shaking and shivering.

Juddering and trembling, basslines are bolstered with vocals invoking the very darkest regions of the dancefloor.

Recorded by long-time collaborator and producer Elliot Heinrich at the band’s own Pony Studios in East London, it’s clear that Tempesst spent time developing a sound tailored to the subject matter. Parallels can be drawn from the great alternative writers of the nineties (Stipe, Buckley, Cocker) by way of the storied lineage of the dark narrators (Cohen, Waits, Cave). “My process is mostly reactive, like writing a journal and reflecting on what I watch, read and listen to,” says Lyricist Toma Banjanin, citing “The Myth of Sisyphus” by Albert Camus as an influence of the record. Forbidden Fruit showcases a new sound, shedding their previous Spector-esque production for a modern hi-fi approach. Tempesst maintain a surrealist soundscape with precision, conjuring images of René Magritte: layered sounds within sounds to draw the listener deeper. They lean into chaos, with fuzz-infused, reverb-laden guitars that drone through the record indifferent to harmony, restrained by a swampy rhythm section. Tempesst reach for the bright lights of the expressionist late eighties while descending into the rawness of the early nineties.

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Hailing from Nancy, France, Cyann is a young artist aged 19. She is preparing a debut album that will surprise you with its maturity, so abundant is her work and her imagination fertile.Cyann or Wysteria, her stage name, has been immersed in the world of musical environment.A multi-instrumentalist, she began her musical career learning to play the harp at the age of four, then violin at Nancy Conservatoire. Dedicated and passionate Cyann went on to teach herself piano and acoustic guitar, two instruments that are now at the heart of her creative process. A singer-songwriter, Wysteria is the heir of a light, airy and genuine folk sound and modern Pop, from Vashti Bunyan to Billie Eilish. Yet her music remains coherent in the themes it tackles. If Cyann is naturally gifted as a composer, she is also an excellent lyricist.She writes stories as well as poems.At ease in both English and French, her texts are a true declaration of love to nature and life. Water, air, fire and all the natural elements are inexhaustible sources of inspiration for Cyann, who succeeds in associating an imagery and an atmosphere with simple, meaningful sensations.Cyann is a spontaneous artist, and her voice doesn't betray her. Her singing comes straight from the heart, natural, unadorned singing, comparable to that of Beth Gibbons (Portishead). Bold and inspired, Cyann has many strings to her bow. The breathtaking freshness and the wide range of her repertoire will surprise many a listener

Ltd. to 500 colored copies worldwide. The band's first album from 1993, lovingly remastered by Johannes Scheibenreif. A classic of German progressive rock. The band's only English-language album. In 1973 the band signed a contract with Brain Records and Jochen Petersen (later keyboarder with Randy Pie) produced their debut album "Banished Bridge" at the Chameleon Studios in Hamburg. The album was recorded completely without electric guitars, the centerpiece being the 17-minute title track "Banished Bridge". The music is slightly fragile, flowing, almost lyrical. The floating synthesizer and keyboard passages are reminiscent of the early works of Pink Floyd and Genesis. A debut album that already showed where the band would later go. "Banished Bridge" remained Novalis' only English-language record, but for many it is still considered a classic of German progressive rock.

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

In 1962, Gordon relocated to Paris, where he became part of a vibrant jazz community

He was already a well-established figure in the jazz world due to his groundbreaking work in the 1940s and 1950s. His decision to live in Europe revitalized his career, allowing him to continue evolving as a musician away from the struggles in the USA: he enjoyed enormous respect in Europe, which allowed him to perform freely, often in clubs and on tours, without the burdens of American racism. Paris had long been a haven for jazz musicians: artists like Miles Davis, Thelonious Monk, and John Coltrane were celebrated in Europe, and the French jazz scene, in particular, became a hotspot for both American expatriates and European musicians. Dexter Gordon quickly became one of the leading figures in that scene. Our Man in Paris is a celebrated jazz album and it is widely regarded as one of Gordon's best works. It is considered one of Gordon's finest albums due to its blend of bebop virtuosity, lyrical improvisation, and the tight interplay between world-class musicians: a classic jazz record, beloved for its authenticity and the inspired performances of Dexter Gordon and his ensemble. This album is now considered a classic in the jazz canon that's not only a remarkable album because of its flawless execution and historical significance, but it also captures a pivotal moment in jazz history where American jazz musicians were embracing new experiences and sounds in Europe and captures the essence of Gordon's bebop roots while showcasing the influence of his time in Europe.

Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works

The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.

This album is often recommended for fans of modern jazz and is considered a notable addition to the discography of Lee Konitz and Jimmy Giuffre

It exemplifies the ethos of jazz as a medium for exploration and innovation, with a focus on personal expression and artistic dialogue. Released in 1959, featuring two influential figures in the genre this album captures a significant moment in jazz history, showcasing a unique collaboration that emphasizes improvisation and melodic exploration. In the late 1950s, jazz was undergoing significant transformations, with movements such as cool jazz, hard bop, and avantgarde emerging. Lee Konitz and Jimmy Giuffre were both pivotal figures in the cool jazz scene, and their collaboration was a meeting of two innovative minds. Known for his smooth tone and lyrical improvisation, Konitz was influenced by the bebop movement and studied under legendary figures like Lennie Tristano. He often pushed the boundaries of traditional jazz through his emphasis on melody and harmony. Jimmy Giuffre was notable for his unique approach to composition and improvisation, often incorporating elements of classical music and folk traditions. He was a key figure in the West Coast jazz scene and known for his use of space and silence in music. The album features a mix of standards and original compositions, highlighting the artists' ability to reinterpret familiar melodies with Giuffre's arrangements often incorporate complex harmonies, while Konitz's playing brings a sense of lyricism and warmth: an essential listen for fans of jazz.

"Panopticon’s ""...on the Subject of Mortality"" is a poignant exploration of grief, written in the aftermath of the loss of one of Austin Lunn's parents. Originally released in 2009 and remixed in 2016, it delves into the emotional depths of human existence, processing death, and the fleeting nature of life. With atmospheric black metal and post-rock influences, the album reflects Lunn's personal journey through loss, deeply inspired by the existential themes of The Seventh Seal.

This LP version comes on a limited coloured vinyl (electric blue) with an insert containing liner notes and lyrics."

New and soulful songs by the Swedish composer and drummer Martina Almgren. With lyrics from Rabindranath Tagore's poems that touch on love, longing and belonging, they move in a chamber jazz oriental landscape characterized by the thoughtfulness and fragrance of a starry night. In collaboration with oud player Ahmad al Khatib, singer Karin Burman, bass guitarist Owe Almgren, trombonist Niclas Rydh and sound designer Åke

Released on 15th November via Polydor Records, “Small Changes” is the eagerly anticipated follow-up to Michael’s eponymous third LP, the Mercury Prize winning, and Grammy Award nominated “KIWANUKA”.

“Small Changes” was produced alongside Danger Mouse and Inflo, the team behind the globally acclaimed “KIWANUKA” and its equally acclaimed predecessor, “Love & Hate”. The new record was recorded between London and Los Angeles. The core trio made up of Kiwanuka and his trusty co-producers expanded into a wish-list ensemble that featured legendary bassist Pino Palladino (D’Angelo, John Mayer, Beyoncé) and Jimmy Jam of the iconic Jam and Lewis songwriting and production duo (Janet Jackson, Prince, SOS Band).

A welcome return for one of Britain’s most talented of songwriters, most recognisable of vocalists, and most virtuosic of guitarists.

Art by YOUT and photography by Marco Grey.

180g heavyweight black vinyl in gatefold sleeve. Includes full size 12pg lyric booklet.

Ben Klock & Fadi Mohem announce debut collaborative album featuring Coby Sey and Flowdan on new label LAYER

Ben Klock and Fadi Mohem present their first collaborative album on their new label LAYER. The ten-track full length project titled Layer One follows the hypnotic EP Klockworks 34 that set the stage in 2022. In a bold departure from the techno roots that have defined and nurtured their careers, Klock and Mohem are now pushing genre boundaries, exploring IDM, ambient and experimental electronic music while still retaining the brilliance that characterised their earlier work.

The conceptual direction of Layer One delves into a post-human world, where humans are close to extinction on Earth, leaving only imprints, traces, and relics behind—digital fossils and machine-generated images capturing fleeting moments of non-human photography, as Artificial Intelligence remains in a world that quietly thrives without us. We do not perceive this as a bleak apocalyptic dystopia, but more a sober and serene reflection of a world that continues to exist and flourish, indifferent to the absence of humanity. Despite this unremitting setting, through this journey we find survivors who signal a remembrance of the human sensibilities.

Elevating this project are two very human and dynamic collaborations featuring the charismatic Coby Sey and the legendary grime MC Flowdan. Sey, a prominent figure in the British music scene known for his work with artists like Tirzah and Mica Levi, injects his music with a mesmerizing emotional depth. Opening the album with the powerful track ‘Ultimately,’ Sey offers spoken-word musings on creativity and life over experimental landscapes meticulously crafted by Klock and Mohem. Nostalgia permeates this opening track, and track 7 ‘Clean Slate’ reinforces this sentiment with Sey’s stream-of-consciousness wordplay.

Flowdan, the gritty MC whose verses have become anthems of the UK grime movement, made headlines in 2023 with two songs that reached the top 20 of the UK singles chart. In 2024, he was awarded his first Grammy for the Skrillex and Fred Again collaboration Rumble, becoming the first grime artist to win in any category. On track ‘Our Sector,’ Flowdan unleashes his raw energy and dynamic flow, adding a thrilling vocal dimension to the album’s narrative. The fluid delivery of his lyrics and rhythmic timing are enhanced by the staccato beats and abstract synths. These collaborations are not mere features; they are pivotal moments that crystallize the album’s vision—an experimental re-imagining of electronic music’s possibilities.

Immediately offering an impressive entry to Klock and Mohem’s changing sonic universe ‘Escape Velocity’ shows the collaboration at its strongest. Deftly juggling between ambient chords and more densely intricate rhythmic moments. These tightly layered textures and intense clashing moments are continued through most of the album. On other tracks the duo are just as innovative ‘Rest Assured’ rips open the sound palette Klock and Mohem are known for, synths dart around flickering through into unexpected areas. Penultimate track ‘The Machine’ feels like the internal innards of a PC or synthesizer brought to life. Electricity flows through the track like an auditory exploration of the digital world's hidden mechanical and electrical processes. In contrast, final track ‘Melatonin’ does exactly what the name suggests; its soothing melodic ambience cradles the listener as the album draws to a close.

Alongside the album’s release, the duo will release two singles. This album represents the work of two artists at the peak of their creative powers, inviting listeners to step outside the familiar and explore a different musical perspective.

Reissue of the debut full-length album by the leader of the Ukrainian band Edenian, Max Molodtsov, offers a 50-minutes long journey to the world of gloomy and hasteless, but atmospheric doom-death, where brutal elements are contrasted by melancholic interludes.The lyrics of the "Of Ruins..." album are based on the classical English poetry from the 19th century and the original author's verses. Mixed and mastered at Slow Burn Studio (When Nothing Remains, Crypt Of Silence).

Mit ihrer EP "To the Stars" knüpfen BEBORN BETON direkt an ihr neuntes Album "Darkness Falls Again" an. Das deutsche Synthie Pop Trio erweitert mit den drei neuen Tracks und vier Remixen der EP die musikalische Bandbreite des Albums und bleibt dessem Geist dabei sowohl lyrisch als auch musikalisch treu. Es gibt mehr als eine Art, BEBORN BETONs neuntes Album "Darkness Falls Again" zu hören: Es lässt sich einfach nur tanzen und als zeitgenössische Synthie-Pop-Hymnen genießen, die musikalisch fest in den goldenen 80ern verankert sind - und mit einer Prise leckerer 90er-Einflüsse serviert werden. Eingängige Melodien und ausgereiftes Songwriting verbinden sich zu einer klanglichen Spritztour. Doch BEBORN BETON legen ihren Finger auch auf den Puls unserer Zeit. Das Trio spricht sich lyrisch klar gegen Frauenfeindlichkeit, sexuelle Diskriminierung und Umweltzerstörung aus. BEBORN BETON wurden 1989 von Sänger Stefan Netschio, Keyboarder und Schlagzeuger Stefan Tillmann sowie Keyboarder Michael Wagner gegründet. Die drei Deutschen setzten sich erfolgreich zum Ziel, den Synth-Pop relevant zu halten und ihn um wichtige Inhalte zu bereichern. Nach den ersten beiden regulären Alben "Tybalt" (1993) und "Concrete Ground" (1994) trafen BEBORN BETON in ihrer neuen Label-Heimat auf namhafte Acts wie WOLFSHEIM und DE/VISION. Nachdem sich die Elektro-Musiker in Deutschland fest etabliert hatten, expandierten die Drei mit dem 1996 erschienenen Album "Nightfall" ins Ausland, wo sie ebenso wie mit den folgenden Scheiben "Truth" (1997) und "Fake" (1999) bei Kritikern und Fans auf große Gegenliebe stießen. Spätestens mit dem im Jahr 2000 erschienenen Werk "Rückkehr zum Eisplaneten" hatten sich BEBORN BETON in ihrer Szene fest als Headliner positioniert und in allen Hochburgen der elektronischen Musik rund um den Globus gespielt. Doch die anstrengenden Touren und die kreativ äußerst anspruchsvolle Veröffentlichung so vieler exzellenter Alben in kurzer Folge forderten ihren Tribut. Nachdem die Band "Tales from Another World" (2002) vorgelegt hatte, worauf sie unter anderem eine ausgedehnte Konzertreise quer durch die USA absolvierte, legten BEBORN BETON eine längere Pause ein. Erst 13 Jahre später kehrten BEBORN BETON zur großen Freude und Überraschung ihrer immer noch zahlreichen Anhängerschaft mit einem neuen Album auf Dependent Records zurück. "A Worthy Compensation" (2015) wurde von allen einschlägigen Magazinen wie Sonic Seducer und Orkus mit Lob überschüttet. Da BEBORN BETON nicht in einen unerbittlichen Produktionszyklus zurückfallen wollten, nahm sich das Trio genügend Zeit, um ein weiteres Meisterwerk zu komponieren. "Darkness Falls Again" hat all die köstlichen Zutaten, die Synth-Pop so großartig machen: Eingängige Songs, die die Beine zucken lassen. Eine Prise Melancholie. Eine Dosis Ironie. Aber auch eine Messerspitze Wut. BEBORN BETON haben mit ihrem letzten Album wieder Musik mit Aussagen und Verstand abgeliefert, was sich auf der EP "To the Stars" nahtlos fortsetzt. Nochmals willkommen zurück, BEBORN BETON!

Peter Brown’s ‘Dance With Me’ is a memorable disco track from the late 1970s. Brown’s album ‘Do You Wanna Get Funky With Me’ was released in 1977, and its second single ‘Dance With Me’ was the quintessential disco anthem.

The song had a funky groove, a repetitively sexy and fun lyric, and some brilliantly performed and produced vocals, led in backup by Betty Wright. The song was a smash hit in America and made it to the top 10. Dr Packer has added his disco-boogie magic in three seriously good versions. Packer’s grooves are hypnotic with a hip-rolling chug and a funked-up vibe that marries the old and the new with perfect synergy.

Who You Selling For is the third studio album by American rock band The Pretty Reckless. It was originally released on October 21, 2016 and since reached #13 on the US Billboard 200, #12 in Canada, and #23 on the UK Albums Chart. Its lead single, "Take Me Down", topped the Billboard US Mainstream Rock chart in October 2016. Produced by longtime collaborator Kato Khandwala, the album is a unique collection of scorching rock tunes with soulful, bluesy undertones. Who You Selling For reveals the band’s continuing evolution in songwriting, as frontwoman Taylor Momsen maintains her signature dark lyrics and raw, sexy vocals while delving deeper into elements of blues and southern rock guitar than on the band’s previous albums.

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

Wicked: The Soundtrack features performances by the stars of Universal Pictures’ new cinematic event, Wicked, with music and lyrics by legendary Grammy and Oscar® winning composer and lyricist Stephen Schwartz. The soundtrack includes songs performed by Emmy, Grammy, and Tony winning powerhouse and Oscar® nominee Cynthia Erivo (Harriet, Broadway’s The Color Purple) as Elphaba and Grammy-winning, multi-platinum recording artist and global superstar Ariana Grande as Glinda. In addition, the soundtrack features the musical talents of Oscar® winner Michelle Yeoh as Shiz University’s regal headmistress Madame Morrible; Olivier Award winner and Emmy nominee Jonathan Bailey (Bridgerton, Fellow Travelers) as Fiyero, a roguish and carefree prince; and pop culture icon Jeff Goldblum as the legendary Wizard of Oz. Based on one of the most beloved and enduring musicals on stage for the past two decades, the spectacular, generation-defining film adaptation of Wicked is destined to be the most talked-about film of the holiday season. The official soundtrack track list includes iconic Wicked songs “Defying Gravity,” “Popular,” “Dancing Through Life” and more, performed as you’ve never heard them before! Wicked, in theaters November 22, 2024, is the first chapter of a two-part immersive, cultural celebration. Wicked Part Two is scheduled to arrive in theaters next year, on November 21, 2025.

Matt Gilmour's latest album, "Business As Usual," marks a bold evolution in his sound and lyrical depth. With a blend of introspective lyrics and catchy melodies, the album explores themes of resilience, personal growth, and the complexities of modern life.

The project opens with the infectious lead single, setting a dynamic tone that resonates throughout. Gilmour's signature blend of genres—from rock to pop and elements of electronic—creates a diverse soundscape that captures the listener's attention. Each track delves into various facets of daily life, reflecting both the mundane and the extraordinary.

Collaborating with a range of talented musicians and producers, Gilmour infuses fresh energy into his work, resulting in a polished yet authentic feel. Standout tracks showcase his ability to balance heartfelt ballads with upbeat anthems, all while maintaining a cohesive narrative.

"Business As Usual" is not just an album; it’s a journey through the everyday hustle, reminding us that even amidst routine, there’s beauty to be found. With this release, Matt Gilmour solidifies his place as a compelling voice in contemporary music, ready to resonate with fans old and new.

Gwen Dolyn releases her debut album "X-RATED feelings" on 22 November 2024, via Duchess Box Records. The album "X-RATED feelings", which contains the singles "ertrinken", "reiner wein" and "mies präpariert", was produced by Thomas Zehnle and Max Reiger. "X-RATED feelings" is about longing, mental health, feminism and relationships, love, loss and self-empowerment. The sound is a homage to the raw part of Neue Deutsche Welle and a combination of honest lyrics, grunge, pop sounds and extravagant outfits. Originally from the capital Berlin, Gwen Dolyn decided to leave the hustle and bustle of the city and now lives in Chemnitz. She is known as one half of the duo Tränen together with Steffen Israel from Kraftklub. Duchess Box Records, the Berlin record label that has discovered artists such as Gurr, Sofia Portanet, THALA and many more

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

Maximum Violenceis Americandeath metalbandSix Feet Under's 3rd studio album. Thealbum goes back toChris Barnes' roots inCannibal Corpsewith violent themes/lyrics. Itwas also the first Six Feet Under album to featureSteve Swansonon guitars.

Two Lights is the fourth studio album by American singer-songwriter Five for Fighting. The album is released in 2006 and includes the singles "Two Lights" and "The Riddle". The album peaked at number eight on the Billboard 200 chart, making it Five for Fighting's highest-charting album to date. It has sold over 287,000 copies in the United States as of November 2009. Two Lights is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes a renewed insert with lyrics.

"Between Two Fires is an album by English singer Paul Young. It was originally released in 1986 and peaked at #4 on the UK Albums Chart. The album, featuring a combination of cover versions with original songs written by Young and Ian Kewley, went on to achieve Platinum certification. It features the singles ""Wonderland"", ""Why Does A Man Have To Be Strong"", and ""Some People"" amongst others. In 2007, an expanded edition of the album was released on CD. This vinyl release of Between Two Fires presents this expanded edition for the very first time available on vinyl, including 7 bonus tracks containing 12"" mixes and B-sides. Between Two Fires (Expanded Edition) is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert with lyrics. "

Gitkin returns with Golden Age, a showcase of the latest evolution of his lyrical guitar-driven sound. Exploring the endless expanses of cumbia, North African/Middle Eastern music, the guitarist has increasingly brought his own personality to these traditions, creating a lively interplay between distant modes and rhythms and his own New Orleans-steeped sound.

After two highly acclaimed EPs and a number of collaborations, singer, songwriter and melodist Enchantée Julia opens a new chapter in her career with ONZE, a debut album with a carefully matured groove on which she blazes a trail in France, between neo-soul intentions and R&B inflections. Or the art of grooving a French language that's not always all-terrain, of marrying a certain lyricism inherited from chanson with the rhythmic and melodic codes of contemporary soul with Anglo-Saxon roots.

Such is the promise kept by Enchantée Julia on this album, recorded between south-east France and the Noble studio in Paris - where sound engineer Clément Caritg (Luidji, Lala &ce, Lossapardo...) helped meticulously shape the sonic identity of the 11 tracks, 8 of which are produced (or co-produced) by the young and highly visible multi-instrumentalist LaBlue. With her pure, celestial voice, set against sophisticated arrangements, she recounts her most intimate emotional torments in an unvarnished yet poetic way.

Celebrating the 20th anniversary of their self-titled debut album, the iconic album, which was the UK’s best-selling album of 2004, will be released on a brand-new limited edition coloured vinyl.

Taking the world by storm with their eccentric style, high energy, and feel-good lyrics it’s no surprise that this album, originally released on February 2nd, 2004, shot the band into international success. The album features fan favourites such as “Take Your Mama”, “Laura” and “Filthy/Gorgeous”. Since then, the album has sold nearly 4 million copies globally, has 300 million streams to date and won ‘Best International Album’ at the 2005 Brits.

Introduction: Janeff the Poet is a dynamic artist whose spoken word performances transcend boundaries, blending socially conscious poetry with the soulful rhythms of jazz and R&B. As an attorney and college professor hailing from Southside Chicago, and an alumnus of a Historically Black College and University (HBCU), Janeff brings a unique perspective rooted in community, intellect, and cultural heritage to his craft. Concept: "Love & Liberation," Janeff's latest EP, features six new tracks that explore themes of love, empowerment, and the pursuit of social justice. Each song is a testament to Janeff's lyrical prowess and his commitment to storytelling that challenges, inspires, and provokes thought. Artistic Vision: Janeff's spoken word pieces, set against the backdrop of jazz and R&B beats, create a captivating fusion of poetry and music. His lyrics, crafted from personal experiences and academic insights, resonate deeply with audiences, offering introspective narratives that celebrate resilience and advocate for change. Release Date: Experience "Love & Liberation" as it is set to release on Date. Prepare for a transformative musical journey that celebrates the power of words and the liberation found in self-expression. Conclusion: Janeff the Poet invites you to join him on a journey through "Love & Liberation," where every word and melody serves as a testament to the beauty of love, the quest for justice, and the enduring spirit of community. Through his artistry, Janeff continues to inspire and empower, leaving an indelible mark on the cultural landscape and hearts of listeners worldwide.

Das 12-Track-Set ist die jüngste Erweiterung eines Katalogs, der 1972 mit Whatever’s For Us begann.
Diese LP begründete die herausragende Karriere, die zu MBE- und CBE-Auszeichnungen, Ivor Novello und
BASCA Gold Badge Awards für Songwriting, BRIT- und Grammy-Nominierungen, zahllosen Ehrentiteln
und vielem mehr geführt hat. Wie üblich in ihrer jüngeren Geschichte ist das neue Album ein Triumph der
Selbstständigkeit, das Joan komplett selbst geschrieben, produziert, programmiert und aufgenommen hat.
How Did This Happen... wird von Armatradings Legionen von Anhängern und neuen Fans gleichermaßen
schnell als Meisterklasse im Songwriting und bei den Aufnahmen anerkannt werden. Auf einem Bett
aus Melodien und Arrangements, die abwechselnd unmittelbar und subtil sind, webt sie einen lyrischen
Wandteppich, der sowohl individuelle als auch universelle Themen mit ihrer charakteristischen Gewandtheit
und ihrem leichten Charme berührt, ganz zu schweigen von zwei aufsehenerregenden Instrumentalstücken.

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!