Suche:m set

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

The Moon and the Melodies is a singular record within the Cocteau Twins" catalogue - unusually ethereal, even by their standards, and largely instrumental, guided by the free-form improvisations of Harold Budd, an ambient pioneer who had drifted into their orbit as if by divine intervention. Building on the atmospheric bliss of Victorialand, released earlier the same year, it signalled a possible future for the trio, yet it was a path they"d never take again. Now, almost forty years after it was fi rst released, it"s being reissued on vinyl for the first time - remastered, from the original tapes, by Robin Guthrie himself. Over the ensuing years, The Moon and the Melodies has attracted a passionate fan base. Its most atmospheric tracks routinely turn up in ambient DJ sets. "Sea, Swallow Me" is one of the Cocteau Twins" most streamed songs on Spotify, having found a new life on TikTok, where it serves as the soundtrack to innumerable expressions of hard-to-express melancholy. For such a low-key aff air, the album casts a long shadow - but Raymonde believes the record"s uniqueness stems directly from its humble, unpremeditated origins. "It captured a moment in time between friends that are enjoying making music together. Really, that"s the essence of it."

Bónus, the new EP from prolific Detroit techno producer, Rebecca Goldberg includes 3 brand new acid tracks on the A side plus 3 remixes from mainstay Icelandic producers $leazy, Andartak and Thiz.One on the B side.

Goldberg released the A1 first single, Bleikur, a fast-paced 909/303 workout, over 3/03 weekend to coincide with her appearance on HÖR and debut DJ set at the world renowned Berlin techno club, Berghain. The single release was accompanied by a music video created by Georgian photographer Nina Nayko.

The A2 title track, Bónus, waxes squelchy and post-apocalyptic, while the A3 inside track, N.A.O., blends intricate layers of synths and drum patterns creating a dream-like experience. N.A.O. is an acronym for North Atlantic Ocean, Goldberg’s muse.

In addition to her original tracks, for the B side Rebecca enlisted the help of three producers from the North to provide their own unique takes on Bleikur (it means Pink in Icelandic).



Bónus EP is produced and arranged by Rebecca Goldberg.
Additional remix production by $leazy, Andartak and Thiz.One.
Mastered by Andy Toth.
Record pressed at Archer Record Pressing Co. in Detroit, MI.
2024 Detroit Underground

Joyous, superb music; the real deal. Hotly recommended.

Scintillating, masterful, roaring, classic Cubanismo, beautifully recorded in 2017 at the storied Areito Studio in Havana.

Descargas, jazz, boogaloo, son… and some ritual music to bring the curtain down. You’ll find yourself hungry for more.

The musicianship is dazzling in every corner of the orchestra; set on fire by the timbales of Changuito (from Los Van Van), and booted along by a hard-swinging, full brass section led by trumpeter Julito Padron, graduate of the legendary septet Nacional de Igacio Pinero, and later Irakere. The sound is steeped in tradition but by no means stuck in the past.

The vinyl is beautifully presented in a heavyweight, high-gloss gatefold.

Continuing our exploration of São Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of África Negra Anthology Vol. 2. We've carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group.

África Negra, established in the early 1970s by Horacio and Emidio Pontes, is São Tomé and Príncipe's most renowned musical group. Their blend of Puxa and Rumba, infused with Leonildo Barros' guitar riffs, Armando Tito's bass lines, and vibrant percussion, gained them recognition beyond the archipelago. This volume offers a glimpse into their musical journey, featuring unreleased sessions from 1979 and 1990, showcasing lead vocalists like João Seria and Sergio Fonseca.

Modern Obscure Music presents "Sakuraza," a live album featuring Eiko Ishibashi (flute and electronics), Jim O'Rourke (electronics), Kei Matsumaru (alto saxophone), Tatsuhisa Yamamoto (drums), and Giovanni Di Domenico (piano). Recorded at the Sakuraza jazz club in Kofu, Japan, this dynamic and sophisticated performance blends jazz, electronic music, and pop elements.
Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session.
"Sakuraza" captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023

Schlechte Laune, schlechte Gewohnheiten und schlechter Atem kollidieren auf diesem Zehn-Song-Haufen auf dem Freeway nach Nirgendwo. "You Get What You Deserve" von 1985, das Neo-Grunge, Swamprock und Noise-Punk in einem Kessel drogengeschwängerter Psychosen verschmelzen lässt, setzt die australische Gefängnis-als-Land-Tradition des Wahnsinns im Angesicht der kulturellen Isolation fort. Atombomben-Nostalgie, Femme Fatale-Scharfschützen, Demolition Derbies und ein Urlaub am Hell Beach erwarten den Hörer.

Schlechte Laune, schlechte Gewohnheiten und schlechter Atem kollidieren auf diesem Zehn-Song-Haufen auf dem Freeway nach Nirgendwo. "You Get What You Deserve" von 1985, das Neo-Grunge, Swamprock und Noise-Punk in einem Kessel drogengeschwängerter Psychosen verschmelzen lässt, setzt die australische Gefängnis-als-Land-Tradition des Wahnsinns im Angesicht der kulturellen Isolation fort. Atombomben-Nostalgie, Femme Fatale-Scharfschützen, Demolition Derbies und ein Urlaub am Hell Beach erwarten den Hörer.

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks. "Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

Es hat wieder begonnen...

Die thüringischen Meister des Makabren melden sich mit ihrem neuen, mittlerweile 17. Studio-Album "Abart" in der deutschen Metal-Szene zurück und setzen unbeirrt ihren bisher eingeschlagenen, ureigenen Weg fort.
"Abart" macht da weiter, wo der "Grenzgänger" Anfang 2023 aufgehört hat, und präsentiert die Thüringer Legenden in absoluter Bestform: Abwechslungsreiches Songwriting, das nahezu alle Facetten der einzelnen Metal-Stilistiken von Death über Black, Gothic, Dark und Doom abdeckt, wird von Mastermind M.Roths unverkennbaren Vocals Leben eingehaucht und in Kombination entstehen beängstigende, monströse Klangwelten, wie sie nur EISREGEN erschaffen können.

M.Roth und Yantit haben auch auf "Abart" ein eiskaltes Händchen für Melodien, die hängen bleiben und den Hörer verfolgen - Songs wie "Am Abgrund", "Im blutroten Raum" oder "Schöner sterben", verfügen über ein enormes Hitpotenzial, weit entfernt von jeglichem Mainstream.
Und: Einem der größten Bandhits der Thüringer wird ein Sequel spendiert - macht euch bereit für "Die Rückkehr der Elektro Hexe". Dazu gesellen sich die Songs "Elektro Baba Yaga" und mit "1000 tote Nutten 2024" wird einem weiteren Bandklassiker ein zeitgemäßes Gewand verpasst.

Polarisierend und einzigartig - der Tod bleibt auch anno 2024 ein Meister aus Thüringen.

Es hat wieder begonnen...

Die thüringischen Meister des Makabren melden sich mit ihrem neuen, mittlerweile 17. Studio-Album "Abart" in der deutschen Metal-Szene zurück und setzen unbeirrt ihren bisher eingeschlagenen, ureigenen Weg fort.
"Abart" macht da weiter, wo der "Grenzgänger" Anfang 2023 aufgehört hat, und präsentiert die Thüringer Legenden in absoluter Bestform: Abwechslungsreiches Songwriting, das nahezu alle Facetten der einzelnen Metal-Stilistiken von Death über Black, Gothic, Dark und Doom abdeckt, wird von Mastermind M.Roths unverkennbaren Vocals Leben eingehaucht und in Kombination entstehen beängstigende, monströse Klangwelten, wie sie nur EISREGEN erschaffen können.

M.Roth und Yantit haben auch auf "Abart" ein eiskaltes Händchen für Melodien, die hängen bleiben und den Hörer verfolgen - Songs wie "Am Abgrund", "Im blutroten Raum" oder "Schöner sterben", verfügen über ein enormes Hitpotenzial, weit entfernt von jeglichem Mainstream.
Und: Einem der größten Bandhits der Thüringer wird ein Sequel spendiert - macht euch bereit für "Die Rückkehr der Elektro Hexe". Dazu gesellen sich die Songs "Elektro Baba Yaga" und mit "1000 tote Nutten 2024" wird einem weiteren Bandklassiker ein zeitgemäßes Gewand verpasst.

Polarisierend und einzigartig - der Tod bleibt auch anno 2024 ein Meister aus Thüringen.

Es hat wieder begonnen...

Die thüringischen Meister des Makabren melden sich mit ihrem neuen, mittlerweile 17. Studio-Album "Abart" in der deutschen Metal-Szene zurück und setzen unbeirrt ihren bisher eingeschlagenen, ureigenen Weg fort.
"Abart" macht da weiter, wo der "Grenzgänger" Anfang 2023 aufgehört hat, und präsentiert die Thüringer Legenden in absoluter Bestform: Abwechslungsreiches Songwriting, das nahezu alle Facetten der einzelnen Metal-Stilistiken von Death über Black, Gothic, Dark und Doom abdeckt, wird von Mastermind M.Roths unverkennbaren Vocals Leben eingehaucht und in Kombination entstehen beängstigende, monströse Klangwelten, wie sie nur EISREGEN erschaffen können.

M.Roth und Yantit haben auch auf "Abart" ein eiskaltes Händchen für Melodien, die hängen bleiben und den Hörer verfolgen - Songs wie "Am Abgrund", "Im blutroten Raum" oder "Schöner sterben", verfügen über ein enormes Hitpotenzial, weit entfernt von jeglichem Mainstream.
Und: Einem der größten Bandhits der Thüringer wird ein Sequel spendiert - macht euch bereit für "Die Rückkehr der Elektro Hexe". Dazu gesellen sich die Songs "Elektro Baba Yaga" und mit "1000 tote Nutten 2024" wird einem weiteren Bandklassiker ein zeitgemäßes Gewand verpasst.

Polarisierend und einzigartig - der Tod bleibt auch anno 2024 ein Meister aus Thüringen.

Es hat wieder begonnen...

Die thüringischen Meister des Makabren melden sich mit ihrem neuen, mittlerweile 17. Studio-Album "Abart" in der deutschen Metal-Szene zurück und setzen unbeirrt ihren bisher eingeschlagenen, ureigenen Weg fort.
"Abart" macht da weiter, wo der "Grenzgänger" Anfang 2023 aufgehört hat, und präsentiert die Thüringer Legenden in absoluter Bestform: Abwechslungsreiches Songwriting, das nahezu alle Facetten der einzelnen Metal-Stilistiken von Death über Black, Gothic, Dark und Doom abdeckt, wird von Mastermind M.Roths unverkennbaren Vocals Leben eingehaucht und in Kombination entstehen beängstigende, monströse Klangwelten, wie sie nur EISREGEN erschaffen können.

M.Roth und Yantit haben auch auf "Abart" ein eiskaltes Händchen für Melodien, die hängen bleiben und den Hörer verfolgen - Songs wie "Am Abgrund", "Im blutroten Raum" oder "Schöner sterben", verfügen über ein enormes Hitpotenzial, weit entfernt von jeglichem Mainstream.
Und: Einem der größten Bandhits der Thüringer wird ein Sequel spendiert - macht euch bereit für "Die Rückkehr der Elektro Hexe". Dazu gesellen sich die Songs "Elektro Baba Yaga" und mit "1000 tote Nutten 2024" wird einem weiteren Bandklassiker ein zeitgemäßes Gewand verpasst.

Polarisierend und einzigartig - der Tod bleibt auch anno 2024 ein Meister aus Thüringen.

Coke Bottle Green vinyl. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.

Doppel-LP auf rotem Vinyl, limitiert auf 2000 Stück. Das lange vergriffene Debütalbum der beliebten Indie-Rock-Band Velocity Girl aus dem Jahr 1993 ist wieder erhältlich, mit einem neuen, von der Band genehmigten Mix und einem kompletten Album mit Bonustracks, das Singles, Outtakes und die Peel Session der Band von 1993 enthält. Velocity Girl gründeten sich etwa 1989 an der Universität von Maryland außerhalb von Washington DC und setzten sich kurz darauf aus Gitarrist Archie Moore (Black Tambourine), Gitarrist Brian Nelson (Black Tambourine), Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), Bassist Kelly Riles (Starry Eyes) und Sängerin Sarah Shannon (Starry Eyes, The Not Its) zusammen. Die Band kombinierte englisch inspirierten lärmenden Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem 60er-Jahre-Pop-Songwriting. Eine Killer-Single auf Slumberland und pausenloses Touren erregten die Aufmerksamkeit der damaligen Indie-Rock-Kenner, und nach einem hitzigen Werben, das sowohl Abendessen als auch Nachtisch beinhaltete, unterzeichneten Velocity Girl in Hoboken, New Jersey einen Vertrag auf einer Motorhaube, und machten Sub Pop zu ihrer Heimat. 1992 begann die Band mit der Arbeit an ihrem Debütalbum "Copacetic" in den Easley Studios in Memphis - einst Heimat der Bar-Kays und anderer klassischer Soul-Bands - unter der Leitung von Bob Weston (Volcano Suns, Shellac), und mischte das Album anschließend mit Weston in Chicago. Obwohl das Album starke Songs enthielt - Popsongs wie "Audrey's Eyes", "Pop Loser" und "Living Well" neben ehrgeizigen Erkundungen wie "Pretty Sister" und "Here Comes" - hatte die Band wenig Erfahrung mit der Produktion und es fehlte ihr an den Fähigkeiten, im Studio "das Boot zu steuern". Infolgedessen war das Album eine eher schlichte Angelegenheit, der es an der Üppigkeit der früheren Aufnahmen mangelte. In den Ohren der Band war das ein Schock, und sie merkten bald, dass dies nicht die Platte war, die sie zu machen hofften. Bob Weston hatte genau das getan, was von ihm verlangt wurde, und die Klänge eingefangen, aber die Band hatte nicht ihren Teil dazu beigetragen, eine klare Vision zu formulieren. Aber die Zeit der Band im Studio war vorbei, und Polvo war gerade aufgetaucht, um an ihrem Album zu arbeiten, also machten sich Velocity Girl auf, um das Video zu Audrey's Eyes" zu drehen. "Copacetic" kam 1993 auf den Markt und die Leute schienen es zu mögen, aber innerhalb der Band gab es ein Gefühl der Enttäuschung bis zu dem Punkt, an dem die meisten Mitglieder es nicht mehr ertragen konnten, die Platte zu hören. Seitdem hat die Band viel über Aufnahmen gelernt, und Archie Moore eine Karriere als Tontechniker eingeschlagen, so dass die Band schließlich beschloss, sich mit "Copacetic" nochmal auseinanderzusetzen. Nach umfangreichen Ausgrabungen tauchten die 2"-Bandspulen im Haus der Mutter von Jims Ex-Frau auf, und im Frühjahr 2023 begann Archie mit der Arbeit an einem Remix. Song für Song entstanden die neuen Abmischungen genau so, wie die Band sie sich vorgestellt hatte. Der erhabene Gesang von Sarah (die am College Oper studiert hat), die klingende Leadgitarre, die saftigen, verwaschenen Rhythmusgitarren und das klare, stampfende Schlagzeug. Die Popsongs sind viel poppiger. Der Klang ist kraftvoller, und die Platte ist ein zusammenhängendes Werk, das von Song zu Song fließt. Der Ansatz war nicht, ein Album zu machen, das nach 2024 klingt, sondern sich auf das Jahr 1992 zurückzubesinnen und das Album zu machen, das die Band damals hätte machen sollen. Das Ergebnis, "UltraCopacetic (Copacetic Remixed and Expanded)", ist eine spannende alternative Geschichte von "Copacetic". Und während sie dabei waren, hat die Band den Rest ihres Studiomaterials aus dieser Zeit ausgegraben und aufgefrischt: "Ultracopacetic" enthält "Warm/Crawl" von der Velocity Girl/Tsunami Split 7", ,Creepy' von der Crazy Town 7", "Stupid Thing" von der Audrey's Eyes 7" und die unveröffentlichte Albumauskopplung ,Even Die'. Abgerundet wird das Ganze durch die komplette John-Peel-Session der Band aus dem Jahr 1993 mit fünf Liedern, darunter zwei Tracks, die seit der ursprünglichen Sendung nicht mehr zu hören waren. "UltraCopacetic" ist wirklich die definitive Version von Velocity Girls erstem Album.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

Buzzkunst ist PETE SHELLEY (Buzzcocks, solo) & HOWARD DEVOTO (earliest Buzzcocks, Magazine, solo). 'SPECIAL SAUCE' ist größtenteils eine Neukonfiguration des 2002er CD-only-Albums 'Buzzkunst' von ShelleyDevoto. JETZT (!) zum ersten Mal auf VINYL, mit einer neuen Reihenfolge und zwei (2) bisher unveröffentlichten Tracks - 'Psychosomatic' und 'Punk Of Me'. Und als ob das noch nicht genug wäre, gibt's noch ein zweites Mini-Album: 11 NEVER BEFORE RELEASED HOWARD DEVOTO ARCHIVE RECORDINGS aus der gleichen Zeit, mit dem Titel 'DESIGNOID'. Instrumentalstücke und Songs, eigenwillig wie immer, inklusive eines 21st century re-work von 'Breakdown', das ursprünglich auf der selbstveröffentlichten Debüt-EP der Buzzcocks, 'Spiral Scratch', enthalten war. "This Shelley is Pete Shelley _ old punks will remember him from the legendary Buzzcocks, while '80s rockers may recall his electro-pop hit Homo Sapien. The Devoto is Howard Devoto, Shelley's old Buzzcocks partner who went on to form the arty post-punk outfit Magazine. Now working together again for the first time in 25 years, the duo have achieved a sound that incorporates most if not all of their previous endeavours without reverting to cheap nostalgia. Their 14-track reunion album Buzzkunst is a progressive step forward, combining the grinding guitars of Shelley's youth and the poppy synthesizers of his middle age with the artsy sonic sculptures and post-punk yelp of Devoto's past." - Tinnitist,2002/2022

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks.
"Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Standard CD (12 Tracks), als Ltd. Digipak CD Deluxe Edition im Schuber (12+2 Bonustracks), als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus
zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks.
"Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Standard CD (12 Tracks), als Ltd. Digipak CD Deluxe Edition im Schuber (12+2 Bonustracks), als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus
zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

Steve Marion, the critically acclaimed-and completely wordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular. Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with Jonathan Rado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby," The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Lee Morgan - The Gigolo
Nachdem Lee Morgan 1964 mit “The Sidewinder” und dem als Single ausgekoppelten Titelsong neue
Verkaufsrekorde bei Blue Note aufgestellt hatte, setzte der Trompeter seine musikalische Erfolgssträhne
mit Alben wie “The Gigolo” fort. Zu den Höhepunkten dieser 1965 eingespielten (aber erst 1968 veröffentlichten) schwungvollen Hardbop-Sammlung gehören der groovige Opener “Yes I Can, No You Can’t”
und die swingende Up-Tempo-Nummer “Speedball”.

Katya Shirskova - David Maranha - Le Héron / A Reuniåo

Stellagedelivers a compelling split LP fromKatya ShirshkovaandDavid Maranha, "Le Héron / A Reuniåo," set for release in July 2024. Created and produced in residence at La Box contemporary art gallery at ENSA - École national supérieure d'arts de Bourges in 2023, this album is a profound exploration of the two artists' respective voices, showcasing their distinctive approaches.

Katya Shirshkovaopens the LP with side-long "Le Héron." This piece is an unadulterated exploration of voice, devoid of any field recordings or added effects. Embracing minimalism, the work revolves solely around vocal loops and re-recordings, creating choral structures that evoke folk traditions while delving into experimental realms. The ASMR-like techniques employed serve not merely as an auditory gimmick but as an intricate tool to illustrate the delicate flight of birds, mirroring the ethereal quality of the entire composition.

"Le Heron" aptly draws inspiration from its avian namesake, weaving birds into its fabric through the concept of vertical polyphony. The piece is underpinned by a profound understanding of this polyphonic approach, demanding meticulous precision in its looping technique. Each fragile construction is crafted in a single, unbroken take, showcasing an impeccable blend of simplicity and complexity.

David Maranhatakes over on the flip side with "A Reuniåo," delivering seven suites of powerful, minimalist drone compositions. Maranha's mastery of sustained tones and evolving harmonics creates a mesmerizing, meditative experience that is both intense and transformative.A dynamic interplay of harmonics creates a dense, immersive auditory environment, a study in sustained tones and subtle variation, leaving a lasting impression.

Mixed and mastered by Giuseppe Ielasi

Following a stunning introduction to the world with her 'Sometimes I Forget You're Human Too' EP release in early 2021, Bored At My Grandmas House (AKA Amber Strawbridge) is back with the compelling new single Detox.

It's a tale of navigating change with Amber explaining it’s about “feeling alienated, not knowing who you can and can’t trust, and figuring out how to be yourself whilst also discovering who you are”. “The lyrics represent exactly how I felt in that current moment, numb, confused to who I was and overwhelmed by all the changes I was starting to encounter”.

While Detox retains a lot of the indie and shoegaze elements prevalent in Amber's debut EP, it also shows growth and maturity in sound, with more contemplative lyrics asking questions of the listener. It's a stunning synth-laden track which broods and swells.

Lyrically, there is a deep introspection and a philosophical desire to question and understand human nature, culminating in the "I think we need to Detox" hook.

The track will be released on a limited edition 7" vinyl via Clue Records with a bottle green vinyl available from the artist and label and a toxic yellow version available at all good indie record shops. Following the first 2 pressings of Amber's debut EP selling out ahead of release date, these will be highly sought after.

The track was recorded by Amber at home in Cumbria before being sent to Alex Greaves (bdrmm, Working Mens Club) to add some elements and mix the track. Amber and Alex worked closely together on the final revisions.

The origins of 21 year-old Amber Strawbridge's bedroom shoegaze project Bored at My Grandma's House are perhaps unsurprising given the name. Facing an extended stay with relatives after a trip to Cambodia, Amber used the spare time to start making beats on her phone with Garageband. Fast forward to 2022, the home set up's more than evolved, she's released her debut EP 'Sometimes I Forget You're Human Too' to critical acclaim ,and now steps back into the light with new single Detox.

Recorded by renowned producer Andy Bell at the remote Red Kite Studios in Wales, Silver Horizon features 11 hook-driven indie folk songs set in a captivating, dream-like sound world, infused with Sam’s love for the ethereal textures of slowcore and dream pop bands such as Low and Cocteau Twins. Guitarist Stuart McCallum (The Breath) weaves epic reverb-drenched soundscapes around many songs, which are simultaneously otherworldly and deeply personal. “I’m still dealing with themes of love, loss, and change that have been a part of my earlier work, but at the moment, sketching events in an impressionistic way instead of documenting them in detail gives the songs more room to breathe.” This seamless blend of the intimate and ethereal makes Silver Horizon the most remarkable album of Carter’s career.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and shortly after returning with the first ever vinyl release to attend to James Tenney’s legendary “Postal Pieces”, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled “Vocal Trio”, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration - issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score - it’s a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today.

Ben Vida first emerged during the mid 1990s within a loose constellation of experimental musicians, centred around a performance series of improvised workshops at the Myopic Bookstore in Chicago, alongside Jim O'Rourke, Kevin Drumm, Chad Taylor, and the other future members of Town and Country - Jim Dorling, Joshua Abrams, and Liz Payne - the band within which he would gain widespread recognition over the following years. Like many other members of that scene, Vida remains a restless product of a fleeting context - Chicago during the 1990s and early 2000s - continuously undermining concrete notions of idiom and signifier within a practice that witnessed him rendering bristling abstractions within Pillow, glacial melodies with Town and Country, the art-rock mayhem of Bird Show Band, and the angular, driving indie rock of Joan of Arc, before becoming immersed in a practice of systems based synthesis, beginning in the 2010s, that guided much of his first decade of output as a solo performer and composer.

As early as 2013, he began to incorporate acoustic sound sources - specifically the human voice - into his work. It was this shift, evolving and refining itself over the last decade, that underscores radically the leap in his practice represented by “Vocal Trio”, a work that encounters Vida composing for the human voice with the ideas that allow for synthesis - transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm - without using a synthesiser.

During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers - Amy Gernux and Lotte Rudhart - who were also singers, the idea for the piece - to utilising the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualising each person’s mouth as a filter to sculpt the timbre and resonance of a given tone - began to take shape in his mind. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text - what became the score for “Vocal Trio” - accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible.

At the core of the pulsing vocal drones - intoxicating, harmonically rich long-tones - that make up the duration abstraction of “Vocal Trio”, is Vida’s regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control. The piece’s rehearsals were simply the three performers hanging out, allowing their knowing each other and natural dynamics to contribute to its form as the score, before recording during a single afternoon at the end of a number of days sharing company and space.

Creatively visionary and groundbreaking on numerous terms, as well as being intoxicatingly beautiful and remarkably listenable, Ben Vida’s “Vocal Trio” represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Issued by Blume in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score, this is hands down one of the most important contemporary records we’re likely to encounter in 2024.

repressed !

Oxia's classic 'Domino' gets reworked for it's ten year anniversary - in 2 vinyl parts. A decade after initially seeing the light, Oxia's now classic 'Domino' get's reworked to celebrate it's anniversary. The new release features a new cut by Oxia himself as well as several remixes by none other than Frankey & Sandrino, Robag Wruhme and Matador. The EP will be released through Agoria's newly found record label Sapiens on February 24th.

Ten years ago the track made waves in the international dance music circuit, striking up chords with techno, trance and house DJs alike to quickly become an all-time classic. Having never expected the track to reach the status that it his, it's a very dear project to Oxia and he needed quite some persuading to give in and let Agoria and his team create something that was worthy of the original.

The set of tracks are the first officially commissioned remixes by Oxia ever. "Finding remixers took some time, the amazing Frankey & Sandrino who's track 'Acamar' is my absolute favourite of 2015, Matador that just launched his Rukus label as well is the multi-talented ex label mate at Kompakt Robag Wruhme. They are all incredibly gifted and fortunately patient enough to wait for this EP" - OXIA

Dance floor in need of a little spark? Need some extra ammo in the record bag for this weekend’s set? Pleasure of Love has the key to your ignition with a new series of specialty re-edits from the vaults. "Covers Blown Vol. 1," features a pair of unlikely disco classics expertly done up in a smokin' tex-mex style

From listening to pirate radio recordings, putting on illegal parties and working for one of the UK’s original rave promoters, Greg Hepworth, aka Settle Down, has always had roots in the foundations of UK dance music.

Settle Down’s 30 year journey began when the sounds of Fantazia drifted into his childhood bedroom at the age of 10. After wearing out cassettes of pirate radio recordings and immersing himself in a growing culture, what followed was putting on illegal raves across the South Coast and packing tapes for Dreamscape, before crossing over to Creator and releasing for Metalheadz and Reinforced as 'Ulterior Motive' and reinventing himself as 'Settle Down'.

From fan to facilitator to maker. Voyage is a documentation of Settle Down's 30 year journey through UK breakbeat culture. Presented as a recording of a 90’s rave cassette mix, it chronicles the journey through house, breakbeat, hardcore and jungle and the influences that make up these genres, a love letter to the past and an ode to the vibe.

Voyage will be released on a limited edition mixtape cassette, 12” vinyl and digitally mixed and unmixed single tracks alongside some limited edition merchandise.

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Collection of songs taken from the comprehensive "Memphis" release featuring newly mixed versions of select recordings, pure and without overdubs. Taking listeners through the many recordings Elvis had done while in Memphis, this set collects songs recorded at SUN Records, American Studio and Stax sessions, his 1974 hometown show and his last recordings in Graceland. Double Black LP Vinyl & Deluxe x5 CD Box-set formats.

2024 Repress

A Banger from D-Omen !

Massive loud analogic kick with a funky dynamic and a digital acid-noise for the story telling.
Live set total !
Direct machien to the cut.

FATAL !

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

It's 23 minutes to midnight and there's only one man with the plan! Montréal's rock 'n' roll savior Bloodshot Bill returns with an all-new set of twangy instros that may just be our only hope. A recent
winner of the Ameripolitan Award for "Rockabilly Male of the Year" and rated in the Top 8 for "Rockin' Guitarists" by Vintage Rock Magazine, he is a giant in the rockabilly/sleaze underworld, thrilling crowds around the world for over two decades! Limited GOLD NUGGET colored vinyl, edition of 1000

Nach dem triumphalen Erfolg ihres 50-jährigen Jubiläums bereiten sich BLUE ÖYSTER CULT auf die Veröffentlichung der mit Spannung erwarteten "50th Anniversary Live - Second Night" vor.

Dieser elektrisierende Auftritt, bei dem das zweite Album der Band "Tyranny and Mutation" aufgeführt wird, verspricht eine spektakuläre Fortsetzung des historischen Drei-Nächte-Auftrittes der Band in der Sony Hall in NYC zu werden. Im September 2022 begeisterten BLUE ÖYSTER CULT ihre Fans mit einer einzigartigen Trilogie von ausverkauften Shows, die jeweils einem ihrer ersten drei Alben gewidmet waren.

Gründungsmitglied Albert Bouchard hatte an allen drei Abenden einen besonderen Auftritt und verlieh dem historischen Meilenstein eine
nostalgische Note.Fast drei Stunden lang lieferte die Band an jedem Abend ein fesselndes Set, das sich durch die gesamte klassische erste Albumtrilogie zog und die Fans mit einer Mischung aus Fan-Favoriten, Deep Cuts und klassischen Hits verwöhnte. Die Atmosphäre war elektrisierend, und das Label Frontiers hat die Magie eingefangen und wird jeden Abend als individuelles Package veröffentlichen.

Diese 2-LP-Highlight-Kollektion von Songs aus der umfassenden Memphis- Sammlung enthält neu abgemischte Versionen ausgewählter Aufnahmen, pur und ohne Overdubs. Dieses 2LP-Set führt den Hörer durch die vielen Aufnahmen, die Elvis während seiner Zeit in Memphis gemacht hat. Es versammelt Songs, die bei SUN Records, American Studio und Stax Sessions aufgenommen wurden, seine Show in seiner Heimatstadt 1974 und seine letzten Aufnahmen in Graceland.

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.

Citrus Swirl Vinyl. honeybee table at the butterfly feast is the first album from the elusive Baltimore's band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting. honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song "haunt me (x3)", a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band's two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016's ambitious double album it's the big joyous celebration, let's stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray's mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

Step into a world where authenticity meets emotional resonance with Maxo's 2018 album, "Smile," produced by the mastermind Lastnamedavid. This release marks the genesis of a new era, a departure from prevailing trends, and an introduction to the genuine artistry of Maxo.

"Smile" is a testament to Maxo's effortless storytelling and emotional delivery, setting a refreshing tone in the contemporary music landscape. Lastnamedavid's soulful production serves as the perfect backdrop, creating a sound that is as real as the content it supports. The album captures a range of emotions, painting a vivid picture of Maxo's journey through the realms of honesty, youthfulness, troubles, and hope.

From the reflective "Same Hoodie Since ‘05," a sobering exploration of identity and roots, to the anti-romantic ballad "Evelyn," Maxo invites listeners to join him on a personal and introspective journey. "Smile" serves as a reminder, not just to Maxo but to an entire generation, to appreciate every situation, irrespective of the circumstances.

The project features a notable collaboration with Sharp, adding an extra layer of depth to the already rich tapestry of "Smile." As Maxo unfolds his narrative, the synergy between his lyrical prowess and Lastnamedavid's production creates a sound that is not just music but an authentic expression of self.

"Smile" is more than an album; it's a sonic exploration of the human experience, capturing the essence of Maxo's voice and vision. In a world of fleeting trends, Maxo and Lastnamedavid deliver a timeless record that resonates with honesty, making "Smile" a standout release in the musical landscape of 2018.

Für ihr 26. Album tauschen King Gizzard & The Lizard Wizard die Widescreen-Konzepte ihrer letzten Alben gegen die Intimität von sechs guten Freunden ein, die gemeinsam an ihrem bisher geselligsten Set arbeiten, das sie auf Wachs festgehalten haben. Für ”Flight b741” wollte King Gizzard laut Bandleader Stu Mackenzie ”etwas Ursprüngliches, Instinktives, mehr ’aus dem Bauch heraus’ machen - nur Leute in einem Raum, die tun, was sich richtig anfühlt. Wir wollten etwas machen, das Spaß macht.”

”Flight b741” zapft den amerikanischen Country-Rock der 70er Jahre an, mit dem sie alle aufgewachsen sind, sowie die Wurzeln des Garagenrocks, aus denen ihre mächtige Diskografie stammt. In den 10
zerklüfteten, glorreichen Songs, die King Gizzard mit ihren inspirierten Improvisationen, unnachahmlichen Grooves und einem einzigartigen Pass-the-Mic-Ansatz für den Gesang, bei dem jedes Bandmitglied seine Stimme erhebt und singt, die groben Skelette der Songs herausarbeiten. ”Wir haben eine Menge Spaß, aber wir singen auch oft über ziemlich heftigen Scheiß”, fügt Mackenzie hinzu, ”und treffen wahrscheinlich auf einige tiefere, universellere Themen als sonst. Es ist keine Science-Fiction-Platte, es geht um das Leben
und so. Aber die Platte ist wie ein wirklich lustiges Wochenende mit deinen Kumpels, weißt du? So richtig Spaß.”

Late great guitar legend recorded live in 1988 in New York City at the Lone Star Roadhouse. Features special guest appearances from Warren Haynes, Jack Bruce, Mick Taylor and Rick Derringer on Allman
Brothers classics and Betts solo material. The set was broadcast on classic rock NYC radio station WNEW-FM. Available on limited-edition marijuana green splatter double vinyl.

Amsterdam's Toman is set to release his first EP since 18 months ‚Dolce Far Niente‘ on Cécille Records!

Dutch producer and DJ Toman, based in the country's capital, Amsterdam, has been steadily rising up the ranks of underground house music in recent years. He has released tracks on labels such as Meta, Eastenderz, Cuttin' Headz, and NO ART. As a rising star in the Netherlands, Toman tours the globe, bringing his raw, stripped-back style to many of the hottest locations, including reputed clubs and festivals across multiple continents.

'Courtyard' opens and sees Toman fuse together crunchy drums with an amalgamation of plucked bass tones and pulsating subs alongside filter house synth licks and vocal hooks, with the vocal on the track provided by Toman himself, all dynamically evolving throughout its eight-minute duration. 'De Bongo Man', as the name would suggest, shifts focus towards a more tribal feel, merging organic percussion atop subtly unfurling synth tones, dubbed-out stabs, resonant
flutters, a weighty low-end drive, and a sturdy rhythm section.

Title-cut 'Dolce Far Niente' follows next on the flip-side, a high-octane house cut fueled by a robust drum groove, twitchy synth lines, breathy vocal chants, and multilayered, gritty stab lines. 'Good Old Sunny Day' then rounds out the release on a more stripped-back tip via bumpy reduced drums, choppy vocals, and airy, fluttering chord sequences.

This is the second part of Susobrino's album. A chapter dedicated to Cumbia. Legendary rapper La Gallo 3:20 from Monterrey, Nuevo Leon, Mexico sets the tone of "SO" with the song "El Destino".

"Oyster Cuts", das vierte Album und Merge Records-Debüt von Quivers, zeigt, dass die in Melbourne, Australien, ansässige Band in der Art von Emotionen schwimmt, in denen sich die meisten Menschen zu verlieren fürchten. Der überdimensionierte Gitarrenpop von Quivers schimmert wie die Oberfläche eines Ozeans, unter der ein Riff liegt, das abwechselnd schön und schmerzhaft ist, dessen Züge fremdartig und scharf genug sind, um zu verwunden. Angetrieben von Melodien, die manchmal an Galaxie 500 und The Pretenders erinnern, machen Quivers Musik, die zart und hart ist und den Hörer dazu zwingt, immer wieder einzutauchen, wobei jeder Song einen neuen Gefühls-Blickwinkel eröffnet. "Oyster Cuts" ist Sonnenschein-Pop mit Blut im Wasser. Die Verluste und Lieben, die Quivers' Musik seit ihren Anfängen geprägt haben - der plötzliche Verlust eines Bruders im gebrochenen Optimismus von "We'll Go Riding on the Hearses" (2018) und das Leben in und nach der Trauer von "Golden Doubt" (2021) - fließen in "Oyster Cuts" ein, das sich dem Weitermachen verschrieben hat, während es akzeptiert, dass einige Gefühle, wie Trauer, ein Kreislauf sind. Entscheidend ist, dass Quivers sich verpflichten, miteinander Vorwärts zu gehen. Ohne den Chor und die Streicher von "Golden Doubt" ist "Oyster Cuts" ein Beispiel dafür, was immer noch möglich ist, wenn vier Leute - Sam Nicholson (Gitarren), Bella Quinlan (Bass), Michael Panton (Gitarren) und Holly Thomas (Schlagzeug) - zusammen Musik machen. Durch die Verwendung von Tape Loops - die "Oyster Cuts" eröffnen und schließen und das Album wie Haie umkreisen - legen Quivers Wert auf Wiederholung, setzen gemusterte Riffs ein und navigieren durch kreisförmige Gedanken, bis sie an ihre Grenzen stoßen und schließlich zu einem neuen Song zusammenfinden. Ihr verträumter, sonnenverwaschener Jangle-Pop ist dadurch schlanker und muskulöser geworden, und ihre Sound-Palette wird durch Anklänge an The Cure, Echo & the Bunnymen und The Durutti Column verdunkelt. Innerhalb dieses Rahmens betreten Quivers als Band Neuland, indem sie ihrem charakteristischen Gruppengesang eine neue Dimension hinzufügen: Quinlan übernimmt bei vier Songs die Leadstimme, die ineinander verwobenen Gitarren von Nicholson und Panton werden in den Mittelpunkt gestellt und der zielgerichtete Groove von Quinlan und Thomas treibt das Ganze voran. Die Songs von Quivers fühlen sich wie lange Gespräche zwischen Freunden an, in dem Sinne, dass ein Gespräch sowohl ein Akt der Sprache als auch ein Raum ist, den Menschen füreinander einnehmen. Die ersten beiden Tracks auf "Oyster Cuts", "Never Be Lonely" und "Pink Smoke", nehmen diese privaten Universen, die aus gemeinsamer Sprache, Erinnerungen, Songfetzen und dem Licht eines Handybildschirms mitten im Doomscroll bestehen, und verwandeln sie in ein Leuchtfeuer, in suchende Texte, die von massiven Hooks entfacht werden. "All I ever wanted was a true friend / All I wanted was a friend with benefits / All I ever wanted was transcendence" singen Quinlan und Thomas zu Beginn des Albums, und von da an spult "Oyster Cuts" in den Horizont hinaus. Die vier Mitglieder von Quivers erforschen diesen Raum nicht nur, sondern füllen ihn auch so weit wie möglich mit sich selbst aus, indem sie sich aneinanderbinden, egal wie unklar und chaotisch Herzensangelegenheiten werden können. Jeder Moment der Katharsis, den Quivers aus dem Äther zaubern, ist eine Einladung, sich ihnen anzuschließen. Wenn man ihnen zuhört, wie sie dort aufsteigen, wo andere grübeln würden, ist es unmöglich, ihrer Einladung zu widerstehen.

Smooth as a dry martini and equally intoxicating, Chantal Chamberland's "Dripping Indigo" cements her role as one of the best interpreters of classic song book favorites Two factors set Chamberland's music apart from the pack. First, the
arrangements are slow and sexy relying on a small jazz ensemble for backing (piano, sax, bass light rhythm). Secondly is her luscious voice, which caresses the listener with a breathy purr throughout the album. With a repertoire that features "Smoke Gets In Your Eyes", "Bewitched, Bothered & Bewildered" and "How Deep Is Your Love", the album slowly seduces with its corner jazz club ambiance and torch singer grace. This is re-release is a part of the evosound 20th Anniversary special collection. The album will be available on vinyl for the first time, as a 180g double transparent purple LP.

Specially prepared liner notes by renowned music writer Brian Morton. Brazilian singer/ song writer Joao Gilberto was a legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-'50s (with songs like The Girl from Ipanema and Desafinado), it was Gilberto who brilliantly reimagined defined the genre.

In 1959 Gilberto presented his first LP, Chega de Saudade presented here. The title song turned into a massive hit, launching Gilberto's career and the bossa nova craze.

"In 1959, before I left my hometown, I heard Joao Gilberto. And hearing Joao Gilberto was a revolution in my mind; it was an enlightenment, really. I knew that something had to happen, something was already happening, and that Brazil could be freer and bigger and could make some kind of original contribution for world
civilization." - Caetano Veloso (Brazilian singer/composer)

Lebanon oud master Rabih Abou-Khalil's stunning 1996 album 'Arabian
Waltz' is appearing here on vinyl for the first time."Arabian Waltz is the
pinnacle of Rabih Abou-Khalil's achievement as a composer and arranger
It is a sublime fusion of jazz, Middle Eastern traditional music, and Western
classical. In addition to Abou-Khalil on oud (the Arabic lute), Michel Godard on the
tuba and the serpent (the tuba's antique kinsman), and Nabil Khaiat on frame
drums, the album also features the Balanescu String Quartet instead of the usual
trumpet or sax. The presence of the Balanescu might seem to pose a dilemma
for the composer: traditional Middle Eastern music uses no harmony but a string
quartet is all about harmony. Abou- Khalil achieves a compromise by generally
writing the string parts in unison (or in octaves), in effect using the quartet as a
single voice, but also letting the quartet split up to play parts in unison with the
other instruments or to provide ornamentation. Without surrendering jazziness at
all, the presence of the strings makes possible a wondrous atmosphere, almost
as if one is listening to the soundtrack of a classy movie set in Beirut or
Damascus during the '40s. This feeling is greatest on "Dreams of a Dying City"
with its brooding tuba and cello motifs and grave, repeated rhythms. "The Pain
After" starts with an impressive tuba solo that turns into a long interlude for tuba
and string quartet; sad, slow music that sounds like one of Beethoven 's late
quartets. Then Abou- Khalil finally enters on oud, bringing a sustained note of
wistfulness. Fortunately, beside the darker numbers lie the propulsive drama of
"Arabian Waltz" and the bobbing and weaving quirkiness of "Ornette Never
Sleeps." Abou- Khalil is known for experimenting with the possibilities his guest
musicians bring to his style. In this case, the guests have inspired the host to
reach a new height and maybe even a new style. This recording suits every fan of
world music, jazz, classical, or just good music." - Kurt Keefner

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

Debut standalone VHF album by the Elkhorn duo of Drew Gardner and Jesse Sheppard, a tight set of six studio recordings in a variety of moods and featuring a lot of new sound textures. Elkhorn’s prolific stream of releases since 2016 has highlighted their mastery of sprawling long-form, acoustic-driven hypno-jams, with an emphasis on live performance (including on their collaboration with Pelt’s Mike Gangloff on the Shackamaxon Concert album). The Red Valley is a more layered and composed-sounding set, with the duo overdubbing extensively on top of their own dual guitars. Leading off the LP, “Crystal Hummingbird” features one of their signature minor-modal vamps, with layers of fuzz bass, zither, and frame drum providing weight and psychedelic density. “Gray Salt Trail” continues the vibe, with thick fuzz vibraphone supplementing the cinematic palate, leading into the spare side-closer “Black Wind Of Kayenta,” where Sheppard plays electric 12-string and Gardner solos on acoustic guitar. Side two starts with “Road to Chaco Canyon,” a brooding duet that builds momentum with Gardner’s insistent frame drum cadence, dropping down into the quiet string pool of “Inside Spider Rock” (featuring Fern Knight’s Jesse Sparhawk on gloriously swirling lever harp) and the graceful finale “Jackrabbit Hops.”

Lange vermisste Hip-Hop-Scheiben sind endlich wieder auf Vinyl erhältlich - A TRIBE CALLED QUESTs "The Low End Theory" mit den Kult-Tracks "Check The Rhime", "Jazz (We Got)" und "Scenario" gilt weithin als ihr Meisterwerk, und dieses einflussreiche Album ist außerhalb der USA seit vielen Jahren nicht mehr auf Vinyl erhältlich gewesen. Erscheint als 2LP-Set auf schwarzem Vinyl.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

Diese Dreifach-Vinyl-Compilation vereint bisher schwer erhältliche Tracks aus Paul Wellers Zeit bei Go!
Discs und später auch Island Records.
Das Set, das sich über den Zeitraum von 1991 bis 2001 erstreckt, war seit seiner ursprünglichen Veröffentlichung im Jahr 2003 nicht mehr erhältlich, bis jetzt. Die 3LP ist bei allen teilnehmenden Händlern ab
dem 09.08.2024 erhältlich.

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

2024 repress.


Repress Back in March 2003 Claro Intelecto announced his arrival in the electronic world with his Peace Of Mind EP on Ai Records. Now, a decade later, Delsin, the label on which he released his latest LP, is re-releasing it in all its glory. Across four perfectly formed tracks the EP proved Manchester's Mark Stewart to have a fine grasp on techno, electro and dub, and that he was able to do his own unique things with each.

Arguably the most well known cut from the EP is 'Peace of Mind (Electrosoul)', a busy bit of chattery house-come-electro that is wired up with many zithering melody lines and Claro's trademark lush strings. 'Tone' is then a much more frazzled and aggressive bit of techno with raw, slapping percussion, gurgling synth lines and plenty of dystopian electro vibes. 'Contact' then settles into a deep, dubby, spacious groove with airy hi hats and a delightful bassline and carries you along effortlessly, and final track 'Signifier' closes things out in beautifully serene style with ambient swirling pads, organic synths and a curious bassline that rises and falls like the tide. Seminal stuff that still fetches a high price on Discogs, it was the start of a remarkable career for Claro Intelecto.

Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip-Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back” which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and started making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride” and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alik

Performed by some of the most seasoned veterans, including the newest edition to the group, Cuban lyricist, singer and composer Kiko Ruiz – who has toured and recorded with Pancho Amatʼs illustrious Estrellas del Buena Vista Social Club as well as having a long standing history as a singer, composer and arranger with Orquesta Maria Alejandra y Cubanía on the Cuban and Latin jazz scenes – Orquesta Akokán brings a classic rawness to these arrangements that is sure to set off dance floors across the globe.

Yogisoul returns with his first album in 8 years, a timeless throwback offering & an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with deep G-Funk grooves, skits, and raps provided by US-based rapper Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

The first track they worked on - “94 Heavy - wastes no time setting a vibe and transporting you back to 1994. It’s an undeniable head nodder, with smooth horns & deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients to classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows down & a jam that slaps!

Co-Accused return for their second release of 2024 with a hand picked V/A sharing sounds from some of the label’s favourite electro and techno producers. Underground legends and fearsome up-and-comers come on board to the Glasgow based label with Luke’s Anger, SOD-90, Steve Allman, Mal_Hombre andParand delivering tracks. CR006 VA is selected for the dancefloor, tried and tested in Co- accused's own DJ sets.

Luke’s Anger launches the EP with some up for it wonky business in ‘Choplifter’. From one of the masters of the wonky techno sound Luke’s Anger continues in full form with his tight yet askew playful
beats. SOD-90 comes in next with ‘Saving Up For Botox’ with his fearless punk take on the electro sound - his own brand of high intensity atmospherics mixed with distorted synth lines, vocals and kicking breaks. Cultivated Electronics’ Steve Allman leads the B Side with ‘This Is Not A Dream’ calling on driving hoover bass and haunting synths in classic UK electro style. For the B2 Mal_Hombre takes the EP down a deeper and more spatial path with ‘Triangulation’ with delicately detailed and propulsive techno, a long time friend of the label whose debut album Andromeda Outpost released on Jeff Mill’s iconic Axis Records. Topping the whole thing off Berlin based producer and Avoidant alumni Parand delivers the final hit with Bloc - a powerful, pitch black, driving heads down moment.

The mash-up maestro sets his sights on Jamaica for this 7 track EP of dubbed out pop. THE WAILERS play back up for ADELE, DUA LIPA, CHRISTINA AGUILERA, and DURAN DURAN, while AMY WINEHOUSE & THE PRETENDERS join forces to become a ska super group. Hand-stamped white label

To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

Joe Ely präsentiert sein erstes Road-Album Driven to Drive, dreiundzwanzig Alben und mehrere Millionen Meilen nachdem er zum ersten Mal auf die
Reise ging. Die Sammlung von Songs über und inspiriert von motorisierten Reisen wurde von Ely zusammengestellt, der Mitte der 1970er Jahre wie
ein wirbelnder Tornado über die flachen Ebenen des Llano Estacado in Westtexas fegte und eine legendäre Band anführte, die zu sehr Rock für
Country und zu sehr Country für Rock war. Der wilde, offene Honky-Tonk-Roadhouse-Sound der Joe Ely Band bescherte ihrer Heimatstadt Lubbock
den ersten Musikhelden seit Buddy Holly.
Das Projekt setzt sich aus Aufnahmen zusammen, die über mehrere Jahrzehnte hinweg in den Spur Studios, seinem Heimstudio außerhalb von Austin,
gemacht wurden. Unterstützt wird er dabei von den Musikern/Nachbarn Joel Guzman am Akkordeon, dem Keyboarder Bill Guinn, dem Sänger Eddie
Beethoven und dem Geiger Richard Bowden. Letztes Jahr im The Zone in Dripping Springs, Texas, fügte Jeff Plankenhorn seine Gitarre zu drei Stücken
hinzu und der Tontechniker Pat Manske, der Driven to Drive gemastert hat, steuerte das Schlagzeug bei.
Die Bewegung in diesen Liedern wird auf viele Arten erfasst: Autos, sechzehnrädrige Lastwagen, Motorräder, Greyhound-Busse. Es gibt
Pedal-to-the-Metal-Hymnen, die auf einem geraden, zweispurigen schwarzen Asphaltstreifen dahingleiten; ein träges Mäandern auf dem Gulf Blues
Highway; eine Geschichte über die Flucht auf der Interstate; Geschichten darüber, wie man von hier nach dort kommt, und Lieder darüber, wie man
überhaupt nirgendwo hingeht. The Lord of the Highway is calling. Joe Ely möchte Sie auf eine Reise mitnehmen.

Continuing the Mr Bongo Cuban Classics Series, we shine a light on Los Reyes 73 and their sensational debut LP from 1975. The album had multiple different pressings under various titles and artworks, but the music stayed the same and speaks for itself. The group set the bar high with this fiery Afro-Cuban-funk gem, letting loose a vibrant Latin workout combining psych rock trippiness with a heavy dose of deep funk. Elements that fuse to firmly cement this album as a ‘70s Cuban masterpiece and one of our favourites here at Mr Bongo HQ.

Releasing just two albums and a handful of 7-inch singles, the band were a popular and influential group in Cuba at the time. Since then, they have featured on several compilation albums across the 2000s that have helped raise their profile amongst new audiences worldwide.

Produced by the magical Raúl Gómez, the album featured a list of heavyweight Cuban musicians. Directed by Santiago Reyes and Ovidio Guerra, with orchestration from greats including Ricardo Eddy Martinez who also released the much-loved album 'Expreso Ritmico' in 1978 alongside Ignacio Herrera, Mario Valdes and Gilberto García. The album also features the writing prowess of Los Van Van’s Miguel Ángel Rasalps.

Blending traditional Cuban Son aesthetics with funk influences and psychedelic touches, the music housed within showcases a cosmic fusion that stands up on any modern dancefloor. The scintillating opener ‘Grandes Amigos’, the tripped out ‘Adeoey’ and the grooving ‘Un Lamento Hecho Cancion’ are just a handful of examples that exhibit the sheer musical melting pot of this album.

For this reissue, we have chosen to use the artwork from a Mexican version of the album released on Pentagrama Records that features the beautiful bird illustration cover art. The Cuban edition was released on the state-run Areito.

BLUE NOTE TONE POET EDITION: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Single Sleeve, wattierte Innenhülle.

Als Lee Morgan 1968 “Taru” einspielte, befand sich der Trompeter musikalisch gerade an einem Scheideweg. Reflektiert wird das in der Vielzahl von Stilen, mit denen er sich auf dem Album auseinandersetzt: das Spektrum reicht von modalem Jazz und Post-Bop bis hin zu wunderschönen Balladen und funkigen
Boogaloos. Zusätzliche Inspiration erhielt Morgan von einem progressiv ausgerichteten Sextett mit u.a. George Benson an der Gitarre. (Gatefold Sleeve)

Auf dem Album “Medina” setzte Vibraphonist Bobby Hutcherson 1969 die ungemein inspirierende Zusammenarbeit mit Tenorsaxofonist Harold Land fort, die er ein Jahr zuvor auf “Total Eclipse” begonnen hatte. Hutcherson und den exzellenten Musikern seines Quintetts gelingt es hier, die im modalen Post-Bop verwurzelten und recht anspruchsvollen Originalkompositionen erstaunlich beseelt klingen zu lassen. (Single
Sleeve)

Continuing our exploration of Sao Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of Africa Negra Anthology Vol. 2. We"ve carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group.

Russell County, Virginia-based 49 Winchester is following up their 2022 breakthrough hit, Fortune Favors The Bold with their latest album, Leavin’ This Holler. Since their last release in 2022 the band has mined success across the globe by playing multiple sold out tours in the US as well as a sold out run of arena concerts opening for Luke Combs across Europe. Crowds have celebrated and supported this band across the globe and the band’s hard workin ways continue to help build their devoted following. Leavin’ This Holler is a soulful anthem of liberation and renewal. The album narrates a journey of breaking free from the chains of the past to pursue happiness and freedom. With a resolute spirit and a clean washed heart, 49 Winchester embraces change and sets out on a quest for new heights. Fortune has favored these bold boys and fueled by determination and the promise of a bright future, ‘Leavin’ this holler’ is a powerful ode to resilience and the pursuit of personal fulfillment.

Russell County, Virginia-based 49 Winchester is following up their 2022 breakthrough hit, Fortune Favors The Bold with their latest album, Leavin’ This Holler. Since their last release in 2022 the band has mined success across the globe by playing multiple sold out tours in the US as well as a sold out run of arena concerts opening for Luke Combs across Europe. Crowds have celebrated and supported this band across the globe and the band’s hard workin ways continue to help build their devoted following. Leavin’ This Holler is a soulful anthem of liberation and renewal. The album narrates a journey of breaking free from the chains of the past to pursue happiness and freedom. With a resolute spirit and a clean washed heart, 49 Winchester embraces change and sets out on a quest for new heights. Fortune has favored these bold boys and fueled by determination and the promise of a bright future, ‘Leavin’ this holler’ is a powerful ode to resilience and the pursuit of personal fulfillment.

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. The Chicago-based five-piece emerged in early 2023 and soon scored a breakout hit with “Impressively Average”—a sublimely shimmering anthem, setting the band on a swift rise that’s recently included embarking on a headline tour with sold-out dates across the US. Having opened for The Strokes, Last Dinner Party and Muse, the band has been featured in the Sunday Times “Breaking Act” and NME’s Radar Spotlight series. Now, with their debut LP The Future Is Our Way Out, Brigitte Calls Me Baby share a body of work that ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on lead singer Wes Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.

Waking Season is the third full-length album from Beverly, MA post-rock quintet Caspian. The 10-song set was co-produced by Matt Bayles, former keyboard player from Minus the Bear and producer for such seminal albums as Isis’ Oceanic, Botch’s We Are Romans and Mastodon’s Blood Mountain. Waking Season is the follow-up to Caspian’s 2009 album Tertia. 2LP pressing from Triple Crown Records. Guitarist/keyboardist Philip Jamieson on working with Bayles, “We wanted to shake things up and work in a different type of environment, the kind of environment where it wasn’t just us calling the shots all the time. Working with someone who had the credibility to challenge the way we heard the songs outside of our own bubbles was extremely important to us for this record. Matt has a way of pulling the pieces together to make them sound crystal clear, sharp and balanced without removing any raw energy from a track. Working with him was a humbling and enlightening experience and we feel like it really benefited the album.”

I Don’t Know Who I Should Belong To:
“I Don’t Know Who I Should Belong To” erschien erstmals 1987 auf Vinyl als englisches Pendant zum Longplayer “Phönix” aus dem Jahr 1986. Lindenberg lebte damals im Berliner Hotel Intercontinental. Das
Leben an und mit der Mauer hat ihn beschäftigt und das veranlasst ihn, sich auf dem Album weiterhin mit politischen Themen auseinander zu setzen. Sie waren für die Gesellschaft zu dieser Zeit einfach von großer Bedeutung. Nicht allein für sein mutiges politisches Engagement in der damals noch geteilten Republik
gilt er bis heute als einer der wichtigsten deutschen Musiker. Die Re-Edition des Albums erscheint am 02.08.2024 in Form einer stark aufgewerteten, roten LP mit einem doppelseitigen Poster, welche streng limitiert und von Hand nummeriert in einer Auflage von nur 1.000 Stück erhältlich sein wird. Zusätzlich erscheint das Album erstmals als Standalone CD im Mintpack.

Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media”, from 1977, the third and final instalment in a suite of releases that includes James Tenney’s “Postal Pieces” and Ben Vida’s “Vocal Trio”. Unquestionably among the most important collections of experimental music to emerge during the 20th Century, “New Music for Electronic and Recorded Media” is the original feminist presentation in its context, releasing the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson under its collective banner. Includes newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the efforts of efforts of Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and others, Blume delivers their third release in their first suite of releases for 2024, the fist ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media” compilation, originally issued by Thomas Buckner's 1750 Arch Records in 1977. Out of print for decades on vinyl and arguably the most important feminist statement in the history of experimental music, illuminating the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Robert, Ruth Anderson, and Laurie Anderson - in a number of cases representing their recording debuts - during a crucial moment in the history of experimental music. Blume’s brand new edition - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - radically shifts perceptions of the past and present day with its truly revolutionary sounds.

Issued by Thomas Buckner's 1750 Arch Records in 1977, and out of print nearly the entire time since, “New Music for Electronic and Recorded Media” can be understood within two simple frameworks. On one hand, it is an astounding document of the landscape of experimental music toward the end of the 1970s. On the other, it is a historically significant feminist statement, being the first collection of experimental music entirely dedicated to female composers, a number of whom were grossly under-celebrated at the time, but have since gone on to be regarded as among the most important composers of their generation.

The eight pieces gathered by “New Music for Electronic and Recorded Media” - Johanna M. Beyer’s “Music of the Spheres”, Annea Lockwood’s “World Rhythms”, Pauline Oliveros’ “Bye Bye Butterfly”, Laurie Spiegel’s “Appalachian Grove I”, Megan Roberts’ “I Could Sit Here All Day”, Ruth Anderson’s “Points”, and Laurie Anderson’s “New York Social Life” and “Time To Go (For Diego)” - might be regarded as the first cohesive vision of alternate proximity or expression of experimental music to what has always been a frustratingly male dominated environment, and to the tropes, temperaments, and sensibilities that have been historically perceived to define it. It is an expanded vision of truth. While the presence of feminine sensibilities and temperaments in experimental music, however they may present themselves, were anything but new in 1977, “New Music for Electronic and Recorded Media” was the first opportunity, beyond the temporal limitations of live performance, to view them collectively, rather than as individualised expressions within a larger body of similar gestures (as was the case of Oliveros’ inclusion in Odyssey’s 1967 “New Sounds In Electronic Music” and “Extended Voices” compilations) where they might be confused for something else; to regard and celebrate a radical notion of feminine sonority for its unique characteristics and through its interrelations.

While its historical significance and groundbreaking nature can not be debated in its totality, nearly half a century on “New Music for Electronic and Recorded Media” remains compelling in both its musicality and the palpable sense of its lasting influence. Every composition across the album’s two sides is not only engrossing and deeply compelling - feeling as fresh and relevant as the day it was laid to tape - but clearly tangible in their lasting influence. Viewed in context, the album’s eight works feel like breath of fresh air when compared to much of what came before, and laid the groundwork for much of what was to come, introducing a new, often more holistic temperament and more sensitive and inclusive sensibility into the landscape of experimental music.

Particularly in the case of Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Ruth Anderson, and Laurie Anderson, it's hard to throw ourselves back in time and imagine a moment when these composers rested in a fairly marginalised corner of the creative landscape. Blume’s brand new edition of “New Music for Electronic and Recorded Media” - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - brings us back to this confounding moment and points us toward a crucial moment of change set forth by these incredible composers and their sounds. Absolutely seminal and not to be missed.

I’ve lost my sense, I’ve lost control, I’ve lost my mind! Yeah, we all know how the song goes, but those words will no doubt end up driving their point home throughout the duration of Bloodstains’ self-titled debut LP. This thoroughly-welcome Euro pressing follows the album’s DIY release earlier in 2024, which is excellent news for UK/mainland fans of early 80s SoCal hardcore who’ve yet to hear it - the whole thing absolutely fkn rips. Feel free to rifle through your Adolescents, Weirdos and (natch) Agent Orange records to see what these guys have been mining, but all you’ll find is a launchpad - Bloodstains inevitably hail from California and they’re clearly au fait with all the above (not to mention a certain compilation), but they manage to inhabit that sound with a personality all of their own. Vocalist Cesar Marin splits his delivery between a sneering bark (like the most withering put-downs you’ve ever heard being delivered via nailgun) and a purposeful, melodic croon… which itself sounds it’s made from sandpaper and vitriol, but there you go. Most importantly, this is a band with SONGS. Eight of ‘em here, to be precise, and you’ll rarely have been so glad to have something turned up so loud it blows holes in your speakers. ‘Stray Bullets’ hangs its mighty chorus on a call-and-response refrain that dares you not to pick a side and bellow along, while instrumental opener ‘The Last Rites’ sets you up perfectly for the seething, volatile bundle of hooks to follow. I’d say the interplay between the band’s string-wielding Espinoza contingent is something to behold as well, but what am I, some kinda nerd? The guitars sound fkn awesome - that’ll do ya. And I don’t wanna spoil the party ahead of time, but just wait til you hear future anthem ‘Public Hanging’. I could go on about this record all day, but ultimately all you need to do is listen to it. Hell, even buy it. And dare I return to a theme, lose your mind.

Debut album by N.W.A and pioneering 'gangsta rap' album - including Dr Dre, Eazy-E and Ice Cube. Download included.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.