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Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

Lionheart is the sixteenth studio album by English heavy metal band Saxon, released in 2004. The title is inspired from Richard the Lionheart, a 12th-century King of England. ""Beyond the Grave"" was released as a single with complementary video. Lionheart is a pure heavy metal album -- the Saxon that old-timers know and love. Such standouts as the album-opening ""Witchfinder General"" and ""Man and Machine"" would not sound out of place on such earlier classics as Denim & Leather and Power & the Glory. Lionheart is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

Reissue der limitierten FEET EP "Walking Machine" aus 2021 auf dem Indie-Kultlabel Nice Swan, das in den letzten Jahren heiße junge Bands wie SPRINTS, English Teacher, Cowboyy, DEADLETTER, Jaws The Shark und eben FEET hervorbrachte. Die EP-Nachauflage erscheint parallel zum FEET Debütalbum "Make It Up" und ihrer Tour mit den Psychedelic Porn Crumpets.

A new album is finally on Drivecom. A 2xLp full of new tracks recovered and rearrenged around 2022-23. No doubt the legacy of the past works are represented. Some arpeggios and melody lines will remember us to sonic landscapes from the “La Hora de las Máquinas” or “The Source” albums by Boris Divider but with a new and refreshed production sound, for sure this will be a must item for all the electro community and fans of the label.

The album opens with the intro track “The Way You Feel Me” a mix between electro and synthwave with a moog bass and arpegio reminiscent of some Arpanet’s “Wireless Internet” tracks. Then followed for the “Letters From A Sleeper” theme. As the track’s name reflects, it's a clear tribute to the synth era of David Harrow/Anne Clarke’s “Sleeper in Metropolis” just like a reply from a postnuclear future, with a big role carried out by the initial synthline. Then the first slow bpm track is for “Distante” where synthlines a la Tangerine Dream are crossed and mixed with vintage digital rhythm machine sounds and the pattern seems to be taken from those Dire Straits’ “Money for nothing” intro drum arrange in an infinite and repetitive way.

In the B Side “You Know What I Know” track is again showing an Arpanet-ish intro synthline followed by a sequential prophet's arpeggio which bring us back to the old “La hora de las máquinas” sound. Closing the first 12 inch is “Sin Mirar Atrás”. One of the most important tracks of the album for the author. A big dimensional and introspective track full of vintage synthlines and reverb. Time for “Your Light” track is again here. This song was already presented with its own reference on Drivecom. A future pure Electro classic which was announcing the album months before.

In the same side, we find another slow tempo theme called “Recursos Infinitos” an instrumental track which implements several synthlines that interlink themselves into an infnite Tangerine Dream’s soundtrack that serves as a little break to the power and darkness of “Cenital”. Electro rhythm patterns and dark arpeggio synthlines in the vibe of Vangelis’ Blade Runner are mixed in this cold dystopian agressive dancefloor track. Later we find the theme that gives name to the album: “ Memories From The Dust” a slower track which mixes sounds and melodies between “La Hora de las Máquinas“ and other 80's digital keyboard sounds. The last track is just an outro theme called “Out of Sync”. Its name is a clear statement of its own musical arrangement, synthlines are full out of timing and synchro, it was recorded in realtime from a modular synth to a digital device in one take.

Michael The Lion and Natasha Kitty Katt began collaborating as Natasha found a second home in Philadelphia. The two have a mutual love of classic disco and found a kindred spirit in Suki Soul, who has been tearing up the scene the last few years in Northern England. I Found Peace features Michael on guitar and Natahsha on drum machines and synths alongside Michael’s long-time studio band mates. Classical composer and legendary Pittsburgh hip hop producer Jules Krishnamurti adds bass guitar and University of Pennsylvnia jazz ensemble leader Dan Paul plays keyboards on this incredible modern disco classic. Pontchartrain brings all the right touches to the club mix, along side some heavy house mixes by Tonarunur (aka B.G. Baarregaard) to round out the first Whiskey Disco release in several years.

Wah Wah 45s präsentiert die Debüt-LP des ghanaischen Sängers und Djembe-Trommlers Afla Sackey. Mit seiner Band Afrik Bawantu hat er sich den Traum erfüllt, traditionelle ghanaische Musik mit knisternden Afrobeat-Grooves zu verbinden und das Ganze mit einem unwiderstehlich funky Twist abzurunden. Die einzigartige Mischung aus vitalen, afrikanischen Rhythmen mit flotten, lebhaften Bläsersektionen und heavy Basslinien bringt eine frische Perspektive in das Afrobeat-Genre.

Afrik Bawantu veröffentlichten 2013 ihre vielgelobte Debüt-EP "Noko Hewon" und 2014 die Debüt-LP "Life On The Street". Afla selbst arbeitete mit legendären Künstlern wie Sun Ra Arkestra, Ginger Baker und Tony Allen zusammen und ist bei zahlreichen zeitgenössischen Projekten mit Ibibio Sound Machine, Sons Of Kemet, Dele Sosimi, The Estuary 21, Eparapo sowie seiner jüngsten afroelektronischen Kollabo mit Produzent Raz Olsher, Raz & Afla, dabei.

- "Vibrant, uplifting Afrobeat and highlife from the master of percussion!" - Cerys Matthews, BBC 6 Music

- "Excellent track. Will playlist on PBB Radio." - Laurent Garnier, PBB France

- "If you need a weekend livener then look no further than this Ghana vs Nigeria soundclash from Afla Sakey & his fellow funkateers, it’s a proper trip down Afro funk memory lane. The vibes are unrepentantly throwback, but when the 70s were this good & their essence captured so well I’m all in." - The Slow Music Movement

Third album from Finnish group Mahti, a collaboration between three members of stalwart avant-rock legends Circle and Hannu Saha. Saha plays the Kantele, a traditional Finnish acoustic instrument which can have five, ten, fifteen, or thirty-six strings, and which is plucked like a zither or harp, producing a delicate string sound. Following their two very limited studio albums on UK label Riot Season, Konsertti I is an excellent recording of the group in live performance, capturing their understated and beautiful mix of ambient, electronic, and string music. Saha’s Kantele centers the music, sometimes plucking out melodic arpeggios, at others blending in with the burbling-but-subtle electronic and electric guitar backdrop. Doesn’t really sound like anything else, but recommended to fans of AR & Machines, Ash Ra Temple, Richter Band, Durutti Column, etc. “These ancient musicians played their ‘mahti’…and the sound they produced was called ‘musiikki’.”

The recording is plush on noise and tape saturation, staying fervently true to their sound from their self released tape “Love Or Perish”. Thudding high gain rhythm machines, crackling guitars and looping hypnotic bass lines around it all. Blending mid tempo industrial post-punk and dream pop, Hard Gloss doesn’t leave behind the 80s influences for Emily’s new visions. The album is bookended & intermitted by industrial synth-scapes driving home the band’s disposition.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

Roy Porter released two albums in the 70's, "Inner Feelings" and "Jessica", which are now highly sought after as important rare groove albums. After a brief absence from the scene, he entered the 90s and challenged the times with a new Sound Machine! The killer funk tracks "Panama" and "Party time," which have been featured as sampling sources on numerous occasions, have been reconstructed by Roy Porter himself, and brushed up to sound with the texture of the 90s. It is no exaggeration to say that this album embodies the fusion of jazz and hip-hop that Robert Glasper and others have shown since the 2010s, 20 years ago.

" Since the release of his previous album 'Paradise for all' , the profile of Guts has grown a lot to become one of the main french producer and a recognized name on the European scene.

His hit 'Brand new revolution' was played by many radios worldwide and even synchronized in Grand Theft auto V. His compilation series ' Beach Digginï' is now a reference for summer and quality music.

After 3 instrumental albums, Guts decided to come back to his Hip Hop roots (he created the french rap Band Alliance Ethnik in the 90s) and invited quality MCs and singers to join him in the studio. You can find on this album, some Hip Hop legend as Grand Puba, Masta Ace, Bob Power, Rah digga some singers as Cody Chestnutt, Patrice and a batch of new talents as Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey, Dillon Cooper.

This albums contains hit singles like'Man Funk' Want it back (feat. Patrice)' Open wide'

Vinyl deluxe edition : double LP gatefold Replica sleeve with insert & download card.

About this release:


Without hip-hop, Guts wouldn't be half the producer he is today. Hip-hop as inspiration, a gateway to so many different musical styles, the trigger for a continually expanding musical bulimia, the springboard from which he dived into a bottomless musical well.
Hip-hop � which has been Gutsïtrue love for the last 25 years, despite its taking futile, gangsta and materialistic paths.
Hip-hop � which in quarter of a century has driven him to spend whole nights with samplers, drum machines, expanders and vinyl, tapping on pads, adjusting the drums and honing his samples.
Hip-hop � which is often done remotely nowadays by sending digital files back and forth. Guts has opted to make it shine like when it was all brand new, decided after three entirely instrumental albums to re-establish contact with rappers, vocalists, jazz players and soul men by packing up his productions and heading across the Atlantic to record them in their home surroundings in New York and California.
Backed up on production by the inexhaustible DJ Fab (Hip Hop Resistance) and supported from Paris by his label Heavenly Sweetness (�A French label spreading colourful music for the soul, Guts explores a host of styles, flows and atmospheres to build up a mosaic of 16 tracks, each nestling inside the other to form a single concept: Hip Hop After All."


[b] Open Wide [Feat Lorine Chia]
[c] The Forgotten (Don't Look Away) [Feat Quelle Chris &Amp; Denmark Vessey]
[d] Go For Mine [Feat Tanya Morgan]%U2028
[e] As The World Turns [Feat Rah Digga &Amp; Akua Naru]
[f] Man Funk [Feat Leron Thomas]

[h] Forever My Love [Feat Grand Puba]
[i] It's Like That [Feat Dillon Cooper]
[j] Want It Back [Feat Patrice &Amp; The Studio School Voices NYC]
[k] Enlighten [Feat Cody Chesnutt &Amp; Murs]

[m] Innovation [Feat Masta Ace]
[n] Come Alive [Feat Lorine Chia]

[p] Roses [Feat Leron Thomas]

Multitrack Reworks Volume 7 - This series sees The Temptations ‘Papa Was A Rolling Stone’ under Smoove's editing knife with extra crisp drums, deep vocal harmonies and glories orchestra breakdowns.

On the flip side is Rufus Thomas ‘Do the Funky Penguin’ with exposed drums and extended guitar riffs galore!As an extra bonus Smoove also drops his extended version of The Magic Disco Machine ‘Scratchin’ peeling back the layers to reveal a seriously funky bass line and pounding drums! Craig Charles has been fully supporting this release with regular plays on @BBC6 Music hailing it as “Smoove’s best Multitrack Rework yet!”

The first signee to Conway The Machine’s Drumwork Music Group imprint, Jae Skeese helped usher in Drumwork’s 2023 Spring Takeover with his collaborative project with Conway, Pain Provided Profit, the labels first compilation album, Conway The Machine Presents: Drumwork The Album and Skeese’s own Drumwork debut album Abolished Uncertainties.

After releasing focus tracks “Skyscrapers” & “Cantonese Characters” featuring Rome Streetz and Ty Farris, Jae Skeese and Superior have officially released their new collaborative project Testament Of The Times.

Testament Of The Times is produced in its entirety by Superior and features guest appearances from Rome Streetz, OT The Real, Ty Farris and Kota Savia.

“Testament Of The Times is an encapsulation of my current plight in striving to carve out my own unique space in hip-hop; starting from ground level” Jae Skeese testifies. “Anyone that has accomplished anything had a starting point, and different things motivate individuals to push forward. I want to be the voice that helps guide people through the “figuring it out stages” by letting them know they are not alone; sometimes that’s all the reassurance you need to make it to the finish line.”

My Dinosaur Life is the fourth studio album by the American rock band Motion City Soundtrack. Produced by Mark Hoppus (bassist Blink-182), the album was released on January 19, 2010, by Columbia Records. The album's theme largely centers on growing older; its lyricism, written by Pierre, concerns such subjects as relationships, drug abuse, and procrastination. Musically, the album retains the band's sound with less of an emphasis on the Moog synthesizer. Drummer Tony Thaxton broke his arm prior to recording, which led the band to use a drum machine on early recordings. The album's music is inspired by post-hardcore music; Pierre cited Archers of Loaf, Fugazi, and Dinosaur Jr. as inspirations for the album's sound. Their only major-label release, My Dinosaur Life was well received by music critics. The album represented their highest peak position in the U.S., charting at #15 on the Billboard 200. My Dinosaur Life is available as a limited edition of 1000 numbered copies on purple & red marbled vinyl and includes a printed innersleeve.

“On the Move” is a tune originally released on a very rare 7” in the mid 70ts and became the title track of the BOBBY BYRD album in the year 1993 when the Godfather’s Godfather, at least Soulbrother # 1, as Fred Wesley calls him, probably the most warm-hearted and soulful gentleman on Planet Funk, was sitting in the living room/office of his back then, brand new label Soulciety Records in Hamburg, Germany, listening to some of his old 7” singles. When Soulciety released the studio album “On the Move (I Can’t Get Enough)” in 1994, the album became a somewhat hoped for, but still unexpected success. Rare Groove-enthusiasts the world over, who knew about Bobby’s songs as well as the ones he wrote with James Brown (e.g.: “Sex Machine”), plus all the Hip Hop-fans who dug him from the countless times his songs had been sampled (Eric B. & Rakim used almost all of Bobby’s version for their hit “I Know You Got Soul”), loved these fresh but original sounding recordings. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl, including the never released instrumental version on the flip side.

The 12-track project delivers more of the signature no-gimmick, undeniably Country sound fans have come to know, love and obsess over from the star and includes his current Top 20-and-climbing single with his former tourmate on “Different ‘Round Here (featuring Luke Combs).” The music and lyrics, both heavily influenced by blue-collar roots, small town life and slower way of life, exemplify Green’s homage to his experiences, beliefs, passions and love of family. The title bares its name from a poignant track on the album, “My Last Rodeo,” which Green wrote solo following one of the final conversations he had with his late Grandaddy Buford Green near the end of his life. Buford was the brains behind converting Riley’s great-grandparents' home into the Golden Saw Music Hall and is credited for Riley’s musical appreciation, education and inspiration, while his Granddaddy Lyndon can be attributed for Riley’s love of the outdoors.

"To celebrate the Grateful Dead's 15th anniversary in 1980, they did something extraordinary: they played a fifteen-show run in San Francisco, and an eight-show run in New York City, with the most exciting of these being an additional, acoustic 45 minute set to open every show, their first acoustic sets since 1970. These sets saw the reinterpretation of some classic Dead and solo songs, older traditional songs from the jugband days and the 1970 acoustic sets, and some new additions to the Dead's repertoire. Recorded to 32-track tape (two 16-track tape machines synced up), Reckoning is one of the greatest, most clear sounding live records the Dead ever produced. Featuring countless classics including “Cassidy”, “Bird Song”, “Monkey and the Engineer”, and “Ripple”. • Will be newly mastered by GRAMMY® Award-winning engineer David Glasser, Produced for release by the Dead’s Audio Archivist and Legacy Manager, David Lemieux"

This is part of an ongoing 45 series that also features Westside Gunn, Raekwon, Blu, Conway The Machine, DJ Babu, Curren$y, and others. This 7" single will set the table for Rude One's official follow-up, Upper Space, which will release physically and digitally on October 11th. The album contains a new single with Roc Marciano as well as songs with Valee, RXK Nephew, Pink Siifu, Stove God Cooks, The Twilite Tone, and more. DJ Rude One's ONEderful LP was released in 2016 and earned praise from Pitchfork (6.9), HipHopDX, XXL, Noisey, Fakeshoredrive, and others. It featured Conway, Your Old Droog, Westside Gunn, and Roc Marciano, all of whom are at the top of the Underground Hip Hop food chain. "His rasping voice is suited for Rude One’s gritty sound. Almost everything here is sonically consistent, with rapper and producer perfectly in sync." - Pitchfork. Full color jacket 7". Roc Marciano is hailed as a leader in Hip Hop's current underground renaissance. The smooth rapper and producer has his fingerprints all over the scene, and regularly receives praise from critics and his established peers. In 2016, Roc lent his services to DJ Rude One's ahead of its time LP, ONEderful. Together, the two crafted stand out cuts such as "Triple Black Benz" and "Murder Paragraphs", the latter of which is the latest installment of Closed Sessions limited 7" series. "Murder Paragraphs" is Roc Marciano at his finest and showcases DJ Rude One's signature less-is-more, grimy sound. This 7" contains the original and instrumental version, new artwork by Spectacular Diagnostics, and follows previous entries from Raekwon, Blu, WestSide Gunn, Conway, Open Mike Eagle, and more. This pressing is limited to 500 copies, and will also set the table for DJ Rude One's forthcoming LP, Upper Space, which will feature Stove God Cooks, Valee, RXK Nephew, and of course a new collaboration with Roc Marciano.

"Black Ice" ist das mittlerweile 15. Studioalbum der Band und der erste Longplayer mit neuen Songs seit "Stiff Upper Lip", das Anfang 2000 Platz eins der deutschen Album Charts belegte. Gleichzeitig feiern die australischen Rock-Legenden damit ihr Debüt beim SONY-BMG-Label Columbia. "Black Ice" entstand unter der Regie von Star-Produzent Brendan O'Brien (Rage Against The Machine, Springsteen, Pearl Jam, Incubus, u.v.a.) in den Warehouse Studios in Vancouver. Abgemischt wurden die Songs vom kanadischen Juno-Award-Preisträger Mike Fraser, der neben zahllosen AC/DC-Meisterwerken auch entscheidend an Alben von Aerosmith, Dio, Biffy Clyro, Motley Crue, Van Halen und Slipknot mitgewirkt hatte. Ende Oktober startet die Band zu ihrer ersten Welt-Tournee seit 2001.

Mit "Rock 'N Roll Train" brachten Angus Young, Brian Johnson, Malcolm Young, Cliff Williams und Phil Rudd bereits den ersten Vorab-Song des Albums aufs (Hit-)Gleis: Kurz nach dem offiziellen Radio-Date schoß das AC/DC-Brett in den Top 100 der deutschen Airplay-Charts. Und auch die weiteren vierzehn Stücke auf "Black Ice" haben es in sich. "Es sind viele starke Songs auf dem Album - denn darum geht es ja letzten Endes bei einer Band. Man ist immer nur so gut wie seine Songs", erklärt Gitarrist Angus Young, "manche Stücke muss man ein zweites und drittes Mal hören, aber das finde ich sehr positiv - wenn die Songs mit jedem Hören wachsen." "Es ist das beste Album, das wir je gemacht haben. Schlicht und einfach", ergänzt Sänger Brian Johnson, "'Back in Black' war großartig für seine Zeit, bzw. es ist ein zeitloses Werk. Aber das neue Album zeigt, wie vielseitig die Band ist."

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Komponist Daniel Pemberton kehrt für das nächste Kapitel der Oscar-prämierten Spider-Man-Saga zurück: Across the Spider-Verse. Für die Fortsetzung hat Pemberton seine ursprüngliche Klangwelt erweitert, um neue Geschichten im Multiversum zu erzählen, und dabei alles von opernhaftem Tenorgesang und einem 100-köpfigen Orchester bis hin zu indischer Perkussion, Punkrock, Techno-Drums, vielschichtiger Elektronik, verstimmten Celli, zeitgedehnten Beats und mehr eingebaut. 34 Tracks begleiten die Zuschauer:innen, Miles Morales und seine Gefährten und repräsentieren das facettenreiche Repertoire des Spider-Man Universums.

"Trauma and the shock effect of it - the leftover residue of harsh reality so impactful that it shapes the way you imagine, envision and calculate your position in regard to everything and everyone around you.
A new type of psychological radius evolves. Boundaries are reinforced. Relationships are recessed. A damaged brief system float aimlessly. Vulnerable to and for anything reminiscent of a worthy cause. The truth about facts became satirical monologue, dead end expressions that have no critical arrangement. We all know someone that either has been or will be"

- Jeff Mills


The Eyewitness reveals a habitual pattern in the way it symbolizes a mirror reflection of mankind in our most vulnerable moments. It is the forthcoming album of Jeff Mills and it is composed from the perspective of an unknowingly complicit bystander and it is at the very least, psychologically pathological in nature. What this release is essentially proposing is an admission to the diagnosis that no one is immune to shock and trauma. Not the accuser or the accused. And this abnormality s culturally and generally transmittable - handed down and passed over to one another disguised as righteous theatre.

As an artist, what Mills is notoriously known for is the perspectives and paths he chooses to approach hefty, complex, and sometimes, awkward subjects. The best way to recognize the narratives of his mostrecent album works such as "The Clairvoyant", an eerie transcending album that plays through like a Seance for creating a bridge to reach another dimension or "Mind Power Mind Control", a cautionary warning about the consequences of supporting deceit, mind control and mass mental persuasion is to start by first taking a moment to look at yourself in a mirror. He's suggesting sound as a reflection and what we might be able to see in ourselves. Proposing that we might be the problem and a solution. In the same vicinity of his recent solo albums, the direction, scope or target of The Eyewitness is first about us, then about it.

More than the few previous albums he's released lately, this one has a unique relationship in terms of imagery and visual treatments that represent the concept. The front cover shows Mills, neatly dressed in a black suit that appears to be caught in the act of doing something methodically as he cohorts to supportwith a bright white type of surgical light towards the viewer. Stark and in the act of.......something offensive - it could be some type of hypnotic machine at work. Other photos show him in darkened spaces. Remote and deep in thought.

Other clues are the titles of the tracks such as "Sacred Iridescent Mirror (The Pledge)": this refers to the act of installing value and credit to something ambiguous and "Menticide" which means the systematic effort to undermine and destroy a person's values and beliefs. In the opening track, "in A Traumatized World" we hear the narration spoken by Mills. In a language he specifically created for this album. It's a dialect that is designed to be undistinguishable, but spoken with a compassion that it could be sympathized with. In the latter part of the track, it reaches a climatic point. Meaning, "it" has happened. And the album is the evidence.

On extra note:

In this day and age,it's comforting to see a musician like Jeff Mills administer music conceptually without any conditions attached. The artistry and craft of using sound and rhythm to bring forth a concern, a warning or the result of a diagnosis to the listener.

Island Boogie arrives four years after Meecham’s previous full-length, Music Not Safari, and sees the veteran producer deliver his most ‘personal’ set yet – a collection of kaleidoscopic, cosmic-leaning, dub disco-influenced neo-boogie excursions inspired by his love of the custom-built soundsystem at Rotation Garden Party, an annual micro-festival founded by a group of friends including his former Chicken Lips production partner Dean Meredith. It's fitting, then, that the EP begins with a superb interpretation of ‘'Dévoilez-Vous’ by T-Kutt, AKA Meredith and long-term studio partner Ben Shenton. The pair’s ‘AM FM Club Mix’ sits somewhere between classic Prelude-style electrofunk, NYC proto-house and early British interpretations of American house music. Séverine Mouletin’s chopped-up improvised vocals weave in and out of sun-bright keyboard riffs, colourful synthesiser motifs, heady synth-strings, D-Train style synth-bass and delay-laden machine drums. It’s a superb re-imagination of one of the album’s most stellar moments.

The EP’s other headline-grabbing remix comes courtesy of Leng co-founder Paul Murphy AKA Mudd. He reworks title track ‘Island Boogie’, teasing out the spacey synths and languid jazz-funk grooves of Meecham’s original mix and dialling them up to the max. The resultant revision sparkles with crunchy clavinet licks, mazy synth and electric piano solos, and spacey chords rising above a mid-tempo dancefloor groove. To complete a strong package, Meecham adds two dubs in his distinctively stripped-back, tape echo-heavy style. He first takes on EP title track ‘Dévoilez-Vous’, wrapping vintage drum machine hits in oodles of space echo and dub delay while devoting more time and space to the killer bassline, Rupert Brown’s infectious hand percussion, and Mouletin’s vocalisations.

To round off the EP, he dubs out album epic ‘La Cassette’, another collaboration with Mouletin that also features additional percussion by Brown. Like the original synth-powered dancefloor dubs of the early-to-mid-80s that have long been an inspiration, Meecham’s ‘La Cassette’ dub features key musical elements – many drenched in trippy effects – popping in and out of the mix, while his sturdy drums and memorable bassline spar with Brown’s percussion below.

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

a a1 - Place To Start [Mike Shinoda]
[b] a2 - Over Again [Mike Shinoda]
[c] a3 - Watching As I Fall [Mike Shinoda]
[d] a4 - Nothing Makes Sense Anymore [Mike Shinoda]
[e] b1 - About You (feat. blackbear) [Mike Shinoda]
[f] b2 - Brooding (Instrumental) [Mike Shinoda]
[g] b3 - Promises I Can't Keep [Mike Shinoda]
[h] b4 - Crossing A Line [Mike Shinoda]
[i] c1 - Hold It Together [Mike Shinoda]
[j] c2 - Ghosts [Mike Shinoda]
[k] c3 - Make It Up As I Go (feat. K.Flay) [Mike Shinoda]
[l] c4 - Lift Off (feat. Chino Moreno and Machine Gun Kelly) [Mike Shinoda]
[m] d1 - I.O.U. [Mike Shinoda]
[n] d2 - Running From My Shadow (feat. grandson) [Mike Shinoda]
[o] d3 - World's On Fire [Mike Shinoda]
[p] d4 - Can't Hear You Now [Mike Shinoda]
[q] d5 - Prove You Wrong [Mike Shinoda]
[r] d6 - What The Words Meant [Mike Shinoda]

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

a a1 - Place To Start Mike Shinoda
[b] a2 - Over Again [Mike Shinoda]
[c] a3 - Watching As I Fall [Mike Shinoda]
[d] a4 - Nothing Makes Sense Anymore [Mike Shinoda]
[e] b1 - About You (feat. blackbear) [Mike Shinoda]
[f] b2 - Brooding (Instrumental) [Mike Shinoda]
[g] b3 - Promises I Can't Keep [Mike Shinoda]
[h] b4 - Crossing A Line [Mike Shinoda]
[i] c1 - Hold It Together [Mike Shinoda]
[j] c2 - Ghosts [Mike Shinoda]
[k] c3 - Make It Up As I Go (feat. K.Flay) [Mike Shinoda]
[l] c4 - Lift Off (feat. Chino Moreno and Machine Gun Kelly) [Mike Shinoda]
[m] d1 - I.O.U. [Mike Shinoda]
[n] d2 - Running From My Shadow (feat. grandson) [Mike Shinoda]
[o] d3 - World's On Fire [Mike Shinoda]
[p] d4 - Can't Hear You Now [Mike Shinoda]
[q] d5 - Prove You Wrong [Mike Shinoda]
[r] d6 - What The Words Meant [Mike Shinoda]

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

Before Uriah Heep there was Fat Toe, and before Fat Toe there was The Gods, who recorded this risqué hard prog album, Orgasm, as Head Machine. Singer/keyboardist/guitarist Ken Hensley takes centre stage under the alias Ken Leslie, his lyrics alluding to the undeniable allure of human coitus and aspects of its management, the climax eventually coming in audible groans, though the guitar really drives most of the songs forward, with stereo panning. Produced by David Paramour, who had worked with Garnett Mimms and The Nocturnes, it was recorded in late 1969 and released in small number by Major Minor; this reissue spins at 45 RPM for improved fidelity.

The various artists alternative sound concept (UDE001) is the first reference, presenting a variety of styles and sounds which represents a sound personality from a listening point.

These artists residing in Malaga, Madrid and Barcelona have participated with the first project to give the presentation.

-Caradusanto, multidisciplinary artist includes “Semillas” made with analog modular and ramdomized sequences.

-Dark Vektor, a pioneer in the electro scene, surprises us with “En Mitg De L’Espai”, sounds that are unusual for him and keeping the same relationship with his clarity when hearing it, sung with his native linguistics and message inside.

-Intervalo, shows us a B side where the broken rhythm predominates, its harmonic essence and melody continues to be its identification, we talk about “Solitude”.

-Guillermo Garate, innovates with electro sounds achieving the same thing, another B side of this artist “Larga”.

-Tio solo by habit in its production slides on synthesizers and analog drum machines, thus achieving “Dark Fluid” an accelerated drum & Bass rhythm differentiated from it with atmospheric and acid pads.

Theatrical rocker Arthur Brown gained notoriety and fame in equal measure through ‘Fire,’ an anthem to their pyrotechnic excess. When his backing musicians quit to form Atomic Rooster, Brown formed Kingdom Come to further explore the nexus of music and theatre and of the series of albums they cut for Polydor, Journey is the strangest and greatest. Stretching to the deepest reaches of space rock, Journey used the Bentley Rhythm Ace drum machine, and Victor Peraino’s synths, theremin and mellotron, to chart the astral records of history. This is Brown’s true masterpiece, an astounding record that was aeons ahead of its time.

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

In the late 90s, the bands that Mike Badger had been part of vanished in the rear-view mirror. The La’s and The Onset were no more. With a young family and his tin-can sculptures emerging as his primary source of income, the evenings in Allerton (south Liverpool) found him quietly strumming his acoustic guitar, careful not to disturb the sleeping children. Weekends often led to the Penny Lane Wine Bar and later to Henry Epstein’s residence, a haven for revelry after closing time. A place where acoustic guitars adorned the walls, and impromptu musical sessions unfolded. In the midnight hours at Henry Epstein’s house, Paul Hemmings conceived the idea of compiling an album featuring Mike’s new tunes, which seemed to carry a basic “pastoral” theme reflective of settled domestic life. Demos were recorded on a porta-studio, and the album, initially titled “Naked and Beyond,” was crafted with starkness and simplicity, adorned with selected embellishments contributed by associates who shared drinks and stages. Recording took place at “The Lab” studio just north of the city, utilizing a Teac 24 Track machine and the warmth of analogue recording. The studio featured an old Italian “Eko” acoustic guitar, a classical guitar, Louis Johnson’s cello arrangements, and Tommy Scott’s backing vocals. Once the core of the album was laid down, the journey continued to Anglesey, to Henry Priestman’s “Gossamer Dome” Studio, where a baby grand piano, Farfisa organ, and “Parrot” accordion were added to enrich the songs with colors, harmonies, and magic, all against the backdrop of a sea view. The front cover of the album was adorned with an objet d’art created from a spiraled frying implement, part of Mike Badger’s “Lost and Found” exhibition. As the need to release the album arose, Mike Badger and his collaborators established their own label, “Viper,” and secured a distributor. The album, titled “Volume,” reflected its creation – from its initial sound considerations to the organic body of work composed in recent years. The recording process, though thorough, embraced imperfections, as Mike Badger believed that completeness emerged from these flaws, giving the performance its distinct character. The spirit of the performance took precedence over perfection, resulting in a product that felt genuine, unfettered, and honest – created simply because it was meant to be made. Now the album turns 25 it is released on vinyl for the first time via Nine X Nine Records.