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At one time participating in ground-breaking medical scientific research, in another a relentless road-trip, hoovering up rare records and tapes, in the nooks and crannies of France, Algeria, or any country that he happens to land in. And then there’s his long standing show for Rinse France.

Following his slamming mix for the Japan Blues show on NTS last year, he kindly offered up a selection for Japan Blues’ first tape release. Algeria is the focus of this tape, taking a brief dip into Sameer’s broad collection, coinciding with his research for his documentary film about the social history of Rai music, "Rai is not Dead" for Arte.

Words from the Hadj: “The medehates are traditional vocal formations of women from western Algeria. Their main role is to give some compliments to the future wife during a wedding, and pray to all the saints through long songs which could last for hours, until reaching a sort of transcendental state amplified by looped percussions, traditional flute, and violon notes. Exclusively for women, no men (including young boys) admitted. This ceremonial tradition gave an intimate space for women to speak out about taboo topics like men-women relationships, love, sins like alcohol consumption etc. Since then, some of them started freely to mention all of that in this small circle and some of them have been recorded live for release on 7″. I picked up a few from my collection in order to make this mix. They represent one of the most powerful and wildest roots of the raw traditional form of rai which appeared in the 50/60s in Algeri

WaterTower Music today announced the release of the eagerly-awaited House of the Dragon: Season 1 (Soundtrack from the HBO® Series), featuring 44 tracks from the first season of House of the Dragon, the Game of Thrones prequel which aired on HBO and HBO Max in August, and whose final season aired last night. All the music for the soundtrack was created by Emmy Award-winning and Grammy®-nominated composer Ramin Djawadi, responsible for the immensely popular scores for HBO's Game of Thrones and Westworld.


Four of Djawadi's tracks were released during the season to great acclaim from fans of the series. Today, fans can enjoy House of the Dragon: Season 1 (Soundtrack from the HBO® Series) in its entirety on 3LP gatefold vinyl, which is now available for pre-order.

Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man…or Astro-Man? present to you seven volumes of their famed U.K. radio sessions.The band’s debut session in Maida Vale 3 was also the first time they stepped foot on English soil. It all started with Birdstuff sending a postcard to John Peel insisting that he not play the band's music and it led to December 1993, at the special request of the legendary, who became one the earliest, most visible and most vocal supporters of the band on English soil, five songs were recorded and three tracks are being released on this initial single.t to you seven volumes of their famed U.K. radio sessions.

Following up their debut full-length on Ty Segall’s God? label, Wand presents their second album, Golem, on In The Red. Recording with Chris Woodhouse at his Hanger studio in Sacramento, Wand summons the dark and heavy power of the riff. Back in September 2013, Wand was quietly dismembered and ritually eaten in the hills near Dodger Stadium. Wand was reborn as “Wand”—an obese organ falsely organized as four overjoyous nerds. Four flesh balloons betting on a few aging amplifiers. Rumor has it they listen to Here Come the Warm Jets on loop all day and plot mail fraud. What’s more, they allegedely stole Dale Crover’s car and sacrificed it to the weather near the Los Angeles County Line. A few things, at least, are certain: Wand hears ghosts. Wand prefers serpents. The Sun is the mother of every fiction. All phenomena will be consumed in alphabetical order, but desire will recirculate ad infinitum. If all else fails, Wand will just devour more hands. Wand is coming your way soon. • Sophomore full-length from California four-piece with connections to Ty Segall, Chad and the Meatbodies

Mega rare soundtrack to the obscure Venezuelan sexploitation film “Sobre la Hierba… Virgen” originally released in 1976 and almost impossible to find in any condition. The album includes a wide variety of music to enjoy, from thrilling psychedelic jazz-funk to spacey experimental tracks, killer drum-breaks or romantic instrumental tunes. Composer and keyboard player Schneider had an outstanding body of work for the TV/film industry and recorded with the likes of Baby Bell, Grupo Syma, Vytas Brenner as well as huge mainstream artists like José Luis Rodríguez and Pecos Kanvas. He was also producer to Phirpo Y Sus Caribes’s highly collectable only LP, a brilliant Afro-Latin funk masterpiece. His much sought-after 1975 solo album on Polydor anticipated the sounds comprised on “Sobre la Hierba… Virgen”, featuring a variety of exotic arrangements ranging from Latin mood to jazz funk to electronic psychedelic. “Sobre la Hierba… Virgen” is one of the best recordings of Pablo Schneider at the peak of his career.

Clear Vinyl

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

The long-anticipated debut album "Infernal Fractality", set for a late 2023 release, unleashes a relentless onslaught of sonic brutality that has consumed over half a decade of tireless devotion from the band's enigmatic founder, Ødemark (known for his work with 3rd Attempt, Ovate, and Necrocave). Ødemark, an artist driven by both the fiery passion of psychedelics and a relentless pursuit of extreme metal's uncharted territories, has woven these elements into an epic, violent, and boundary-defying soundscape that delves deep into the realms of the Luciferian ideals, non-duality pointers, and the mystic principles found in his own psychedelic experiences.

THE LAST EON was formed to push the boundaries of the established but dormant industrial black metal sound pioneered by bands such Thorns and Mysticum and to its maximum exponential, with the vision of "creating the most intense music in history", objective that took 6 years of obsession, a couple burnouts, and a whole galaxy of multi-colored uppers, downers, screamers and outers, to map the depths of the psychedelic experience that would be distilled into "Infernal Fractality". With the help of drummer Jarle Byberg, Ødemark created this whole beast by himself.

After years of pushing every conceivable boundary, and breaking every possible rule and standard in composition, production and sound design, the masterpiece was ready for the crucible of Zardonic's mastering process, who consolidated the behemoth of a more than 300 track project into a time-space shattering soundscape of cosmic proportions.

Mainman Ødemark states: “I wanted to push the limits of what extreme metal can be, and materialize a vision for the future of electronic black metal that required me to rebel against every single rule in my mind of what black metal is, to create what black metal can be. This included also the theme and lyrics, spreading awareness of the mind expanding psychedelic experiences and self exploration within the black metal culture.”

The long-anticipated debut album "Infernal Fractality", set for a late 2023 release, unleashes a relentless onslaught of sonic brutality that has consumed over half a decade of tireless devotion from the band's enigmatic founder, Ødemark (known for his work with 3rd Attempt, Ovate, and Necrocave). Ødemark, an artist driven by both the fiery passion of psychedelics and a relentless pursuit of extreme metal's uncharted territories, has woven these elements into an epic, violent, and boundary-defying soundscape that delves deep into the realms of the Luciferian ideals, non-duality pointers, and the mystic principles found in his own psychedelic experiences.

THE LAST EON was formed to push the boundaries of the established but dormant industrial black metal sound pioneered by bands such Thorns and Mysticum and to its maximum exponential, with the vision of "creating the most intense music in history", objective that took 6 years of obsession, a couple burnouts, and a whole galaxy of multi-colored uppers, downers, screamers and outers, to map the depths of the psychedelic experience that would be distilled into "Infernal Fractality". With the help of drummer Jarle Byberg, Ødemark created this whole beast by himself.

After years of pushing every conceivable boundary, and breaking every possible rule and standard in composition, production and sound design, the masterpiece was ready for the crucible of Zardonic's mastering process, who consolidated the behemoth of a more than 300 track project into a time-space shattering soundscape of cosmic proportions.

Mainman Ødemark states: “I wanted to push the limits of what extreme metal can be, and materialize a vision for the future of electronic black metal that required me to rebel against every single rule in my mind of what black metal is, to create what black metal can be. This included also the theme and lyrics, spreading awareness of the mind expanding psychedelic experiences and self exploration within the black metal culture.”

It would be difficult to find a band that is more self-aware than longtime touring band Lucero. Since forming in Memphis in the late 90's, Lucero’s base musical hallmarks have remained similar to the band’s initial sound established with their first record The Attic Tapes. In the history of their expansive discography, Lucero has evolved and embraced everything from southern rock to Stax-inspired Memphis soul, whilst simultaneously maintaining their distinctive sonic foundations. Years later, dedicated fans of the group still flock to hear the band's punchy driving rhythms, punk-rooted guitar licks, and Iyrics that evoke the whiskey drenched sentimentality of Americana singer-songwriters. For their twelfth record, Should've Learned by Now, Lucero drew on a lot of work from their past. Literally. By adapting songs and guitar parts that had been left over from the group’s previous two albums, Lucero was able to construct one of its most comprehensive works to date. “I had a particular sound | was looking for on each record and there was no room for any goofy tock & roll or cute witticisms or even simply upbeat songs.” Said primary lyricist and frontman, Ben Nichols. “But now finally, it was time to revisit all of that stuff and get it out in the world, That's how we got to the appropriately for-us titled album Should've Learned by Now. The album is basically about how we know we are fuckups and I guess we are ok with that.” Produced by Grammy Award-winning engineer, Matt Ross-Spang, the album is a punchy, rock and roll record that utilizes the more mature production stylings the group developed over time, and combines it with the first-person introspectiveness that the band is known and loved for. From its original Ben Nichols-designed cover art to its credits, the album is a reflection of a band that knows itself, Should've Learned by Now bridges the gap musically between “old Lucero” and “new Lucero” in a manner which affixes the band’s position as the perfect intersection of punk initiative with hard-earned artistry. It's an album that recognizes the past in its sound and content, but leaves the door wide open to the future and for the lessons still in store

« With their vintage organs, synths and drum machines, there are touches of Stereolab but Grand Vermont’s main mode is stranger and folkier, like Piper-era Floyd and David Allen dreaming up early Beach House. » Uncut « It’s electronic-ey, it’s French, it’s brillant » Soho Radio "Sweet minimalist post-punk" Konbini "... wonderful piece of childhood. Everything seems simple at first. Everything is luminous.” Guts of darkness "[...] somewhere between the synthetic forests of Broadcast and the kraut pop trail of Stereolab." Gonzaï

Changing Mindset is an EP developed around Tuber's title track,

This work is presented as a work of sonic craftsmanship, with a distinctive character that will make you delve towards the limits of electronic music. This sound fuses atmospheric, hypnotic and mental elements, creating a listening experience that goes beyond listening to become a total immersion into the cosmos.

-On the first remix, it denotes a special flavor thanks to the presence of Orbe, a true master in the creation of textures and enveloping sounds. Known for his skill in weaving complex sonic layers, he dives into the core of Tuber's main track, displaying an ability to transform and enrich every musical element.

-The second remix, created by HD Substance, promises to be an experience that will take listeners on a vibrant musical journey, inviting them to surrender to the beat with an infectious energy. The presence of HD Substance, backed by an extensive and outstanding trajectory in the music world, augurs a remix that goes beyond simply being listened to, it is a direct invitation to immerse oneself in the intensity of the sound and let oneself be carried away by the melody.

-The last remix, by Dinamite, adds a touch of elegance and forcefulness, completing the "Changing Mindset" EP. Dinamite, renowned for his ability to fuse musical sophistication with pulsating beats, brings with him an experience-laden perspective.

2 x 180gr Vinyl inklusive DLC im Klappcover mit Artwork von Ana da Silva, CD-Edition mit Bonustrack "Let's Eat Pasta". "Island" ist das neue gemeinsame Album von Ana da Silva, Gründungsmitglied und Songwriterin der wegweisenden Post-Punk-Band The Raincoats, und der legendären japanischen Musikerin Phew. Eine belebende Odyssee im industriellen Lärm, ist ,Island" voll von absorbierenden Texturen, taktilen Beats und einem meisterhaft dynamischen Kompositionsstil. Jede höhlenartige Spur fühlt sich an wie ein Gespräch, und aus der ominösen Dunkelheit kommt eine generative Hoffnung. Ana und Phew tragen Wortstücke in ihren Muttersprachen Portugiesisch und Japanisch bei und reflektieren über Isolation, Freundschaft und Natur. Der Alltag ist tiefgründig. Eine fesselnde Stimmung wird durch den gemeinsamen Stoizismus und die subtile Verspieltheit der beiden Kult-Punk-Ikonen erzeugt. Jeder Song wurde gemeinsam von Ana und Phew komponiert, die Dateien per E-Mail ausgetauscht haben. Manchmal erinnert ,Island" an das düstere Pochen von Phews aktuellem ,Light Sleep"-Album (das wiederum an Suicide erinnert). Die Logik von ,Island" ist eine des weisen Minimalismus. Es gibt ein Gefühl der Entdeckung, das den Raincoats-Fans vertraut sein wird - ein Gefühl von Poesie und Neugier, von Intuition und Erfindung, von neuen Sprachen, die Gestalt annehmen.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

2023 Reissue

Berlin based HipHop producer S. Fidelity presents his sophomore and full packaged concept album “Fidelity Radio Club” via Jakarta Records.

Four years after his Jakarta Records debut “A Safe Place to Be Naked” S. Fidelity has matured as a producer and as an artist: working and recording in London, Los Angeles, Paris and Johannesburg while building up his Manolo Purple Studios in Berlin with longtime collaborator, labelmate and soul brother Bluestaeb.

In 2021 S. Fidelity finally returns to the main program with his brand new solo album “Fidelity Radio Club” shaped in form of a genre crossing radio show exploring HipHop, R&B, Jazz, House and Funk in all their depths, creating the multi-layered album he always dreamt to do as he orchestrates a stoking line-up of equally talented friends and fellows like Bluestaeb, Melodiesinfonie, Suff Daddy, K, Le Maestro, Àbáse and many more while still delivering that very personal note every classic producer album needs and comes with. Or as the artist himself would put it: “17 different artists, producers and instrumentalists from all over the world helped me to bring this vision to life.”

According to that the albums 1st single features Singer NDO from Florida, giving life to the hard hitting R&B gem “Mixed Signals” where warm neo soul harmonies meet with classic R&B vibes of early 2000. The song made it to Spotify’s Butter Playlist right away and was picked for Deezer’s “Date Night” Playlist and Apple Music’s New Music Daily as well and received shout outs and further Playlist-placements by music blogs like Stereofox or MOW Mag.

The 2nd single comes as a double single featuring pianist, producer and main protagonist of Berlin’s prog-jazz scene Àbáse on “Me At The Zoo” (reminding its listeners of London’s new wave of jazz around Kamaal Williams or Yussef Dayes) on one side and the energetic, funk influenced disco tune “Something Good” on the other side.

The 3rd and final single “Love International Inc.” then comes with a bumpy up tempo drum beat, which develops into an energetic and jazzy lo-fi house/deep house loop, featuring none other than Zürich’s finest Melodiesinfonie as well as Paris-based Bluestaeb, marking this supergroup’s 2nd appearance and giving a glimpse of what’s yet to come.

Each of the album’s single cuts comes with a visual treatment by HipHop’s favorite photographer Robert Winter and his team (The Ottos), matching sound and artwork accordingly while the record’s amazing and unique artwork comes from the Swiss based creative studio HOMI. The record itself contains a sticker sheet with customized S. Fidelity and “Fidelity Radio Club” stickers as well.

The whole album campaign is further accompanied by the Fidelity Radio Show hosted by S. Fidelity himself, sitting down with his featured guests talking about the music they love and they draw inspiration from – broadcasted via S. Fidelity’s own youtube channel releasing its episodes in between the album’s single drops.

Top-Kollektion mit den besten Scores aus der Terminator-Filmreihe zwischen 1984-2019. Unter dem Namen London Music Works spielen die besten Filmmusiker Londons Themen aus Terminator (1984), Terminator 2: Tag der Abrechnung (1991), Terminator 3: Rebellion der Maschinen (2003), Terminator: Die Erlösung (2009), Terminator: Genisys (2015) und Terminator: Dark Fate (2019). Transparent-rotes Doppelvinyl.

Bad Touch kehren mit ihrem fünften Album „Bittersweet Satisfaction“ zurück. Das Werk
wurde von der Band selbst produziert und im The Marshall Studio aufgenommen. Es
präsentiert ihren Good-Time Rock'n'Roll in 10 brandneuen Tracks.
Mit „BITTERSWEET SATISFACTION“ melen sich BAD TOUCH zurück, größer und
mutiger als je zuvor. Die Band kombiniert klassische Rock-Riffs mit Chorusses für Stadien
und ihrer charakteristischen lebenslustigen Einstellung, um einige ihrer bisher besten
Werke zu schaffen. Die Platte ist ein Strahl positiver Energie, eine Hommage daran, im
Augenblick zu leben und die Sorgen hinter sich zu lassen.
„Wir sind eine Wohlfühl-Rock’n’Roll-Band.“ Das sagt Gitarrist Daniel „Seeks“ Seekings,
und es muss nicht wirklich komplizierter als das sein! Das Album wurde ein halbes Jahr
lang aufgenommen und fertiggestellt, dabei bieten Bad Touch einen ausgefeilteren
Mainstream-Sound als bisher, aber immer noch mit seinen Wurzeln im klassischen Rock
von Led Zeppelin, AC/DC und The Black Crowes.

Epischer Metal kollidiert mit Folk und NWOBHM in einem Album voller Fantasie und Allegorie! Das Debütalbum der zypriotischen Heavy-Metal-Band Receiver ist ein von Melodien dominiertes Abenteuer! Receiver haben es sich zur Aufgabe gemacht, reinen, schweren, epischen Metal mit einer Portion Folk-Einflüssen zu liefern. Die Band ehrt Legenden wie Iron Maiden, Warlord, Manilla Road, Omen, Black Sabbath, Dio, Heaven's Gate, Riot, Savatage und Saracen, aber auch die traditionelle Musik der Insel Zypern und Folk aus aller Welt wie The Dubliners und Sandy Denny. Diese einzigartige Mischung hat in Receivers lang erwartetem Debütalbum 'Whispers of Lore' seinen Höhepunkt gefunden. Textlich thematisiert die Band die Übel der Menschheit: soziale Ungerechtigkeit, Imperialismus und die schändliche Erniedrigung des menschlichen Zustands, die Krieg ist. Durch Fantasie und Allegorie drücken Receiver diese Bedenken aus und begibt sich auf eine Reise voller Schlachten und Überlieferungen.

Rock Hard:
"...RECEIVER mögen mit ihrem Debüt vielleicht noch nicht in der Oberliga spielen, sind aber auf einem guten Weg dahin. (Ich finde das in seinem Bereich bereits Champions League - wunderschöne Platte!"

Southern Exposure is proud to present the debut solo EP from Mike Midnight. Angel Hours was originally self-released digitally but has been lovingly pressed on heavyweight vinyl for the first time with design from Jeffrey Annert.

Angel Hours current rise felt like it was imminent from the first listen, with contributions from Noa (Voice Actor/Stroom) and 3NDLES5 (Low Life). Mike’s production across the release feels akin to 90’s artists like I:Cube, Thievery Corporation or certain Weatherall moments. The heavenly references are well deserved with multiple moments on the release feeling truly divine, whilst others take a low-lit and alluring feel. Mike Midnight feels singular in the Australian music landscape, like a mix between the best parts of Paul Mac, Single Gun Theory and Ian Eccles-Smith.

Angel Hours continues the lineage of Australian music breaking through to international recognition with the release becoming a mainstay on NTS Radio, breakfast show host Flo Dill dubbing it “music that when listened to at night makes you feel unstoppable.” Remastered by Corey Kikos (Sleep D/Butter Sessions), the balance of each track of downtempo bliss feels like you’re not only unstoppable but weightless.

Big thank you to Theodore, Mitch, Jeff, Mon, Noa, my friends, family and all the collaborators for their continued patience and support.

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

*BLACK FRIDAY RELEASE 2023* 1978 -2013 Home recordings from founding member of The Bats and OG member of The Clean, Robert Scott's "Family Band", Electric Blood. Record Store Day Black Friday 2023 Exclusive variant Transparent black with blood drops 150g vinyl Wide spine jacket with 2 printed Euro sleeves

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111

Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.

In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.

In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.

This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!

2008 listete der "Rolling Stone" die 1933 als Eunice Kathleen Waymon geborene Künstlerin Nina Simone auf Rang 29 der 100 besten Sänger aller Zeiten. Im Dezember 2017 wurde Simone, die ihren Künstlernamen nach der Schauspielerin Simone Signoret wählte, mit der Aufnahme in die Rock and Roll Hall of Fame geehrt. Rock"n"Roll ist insofern etwas irreführend, da die Sängerin, Pianistin und Songschreiberin im Blues und Jazz zuhause war, beziehungsweise in Black Classical Music, wie sie ihren Stil selbst nannte. Von ihren Fans wurde sie hingegen als "Hohepriesterin des Soul" bezeichnet. In den Sechzigerjahren engagierte sich Simone stark in der US-amerikanischen Bürgerrechtsbewegung. Mit Liedern wie "Mississippi Goddam" und "To Be Young, Gifted, And Black" (Text: Weldon Irvine) wurde sie eine der musikalischen Leitfiguren dieser Bewegung. Wagram ehrt diese großartige Sängerin mit einer 3-LP-Box inkl Poster.

From Serge Gainsbourg to Barbara, From Edith Piaf to George Brassens, all the classics of French singers are included in this very nice 3LP boxset.

Nothing in Narciso's (known) background indicated these 10 minutes of tension and release, a soundtrack to some nameless anticipation. Soundtrack, also, to a dance piece on video by choreographer Catarina Miranda produced in 2021.

It is certainly nothing one would expect to hear in one of his regular DJ sets. A long, moody intro appears to chart a difficult journey under heavy clouds, until the drums manifest themselves first as a sort of warning, or preparation, maybe a signal, maybe just warming up for the steady kick drum that follows, a clean 4/4 beat complemented by broken off-rhythms and sparse percussion that seem to run parallel in observation of the main event.

Clouds definitely open up towards the end. Crystalline drops brighten the sonic mood. Quite a unique experiment in Narciso's body of work, undertaken during a period when the DJ and producer, feeling unmotivated, decided to relax from detailed planning and instead allowed himself to flow along with the sounds, expanding possibilities and actually breaking free from previous notions of composition.

Members of Papir & Causa Sui finalise Edena Gardens trilogy. True to El Paraiso fashion, Dens concludes a trilogy of albums, aptly spelling out the last third of the group’s name. And true to form, the band turns inwards rather than outwards, drawing on deep shades of ambient, slowcore, and the ghost of Mark Hollis. While maintaining their psychedelic edge, the trio weaves the lines between genres in a way that’s becoming a signature of its own. Never in a hurry, but always moving somewhere. Causa Sui drummer Jakob Skøtt & Martin Rude’s bass and baritone guitar lay out a robust yet fleeting foundation. Papir’s Nicklas Sørensen’s glistening guitar lines never felt more free and explorative. While The Durutti Column tribute Vini’s Lament is drenched in nostalgia, a cut like Morgensol (Morning Sun in Danish) explodes in Popol Vuh-esque gloomy euphoria. Engineered by Jonas Munk & produced by Jakob Skøtt, the album culls hours of free improvisation into a coherent size. Seamless edits and studio wizardry enhance the feeling of an almost narrative nature as the album progresses. Invoking anything from a crackling campfire, rattling bones, and the singing of sand dunes. The culmination lies in the 14-minute track Sienita. A fully formed blistering improvisation, abandoning any studio trickery, besides a singly dubbed organ, rising and falling like the tide.

Ross Mc Millan Aka Carlos Nilmmns Started His Career Over 10 Years Ago With Skylax Records. From His 1st Ep "Red" It Is a Statement. a Subtle Mix of House, Techno All Embellished With Striking Cinematographic Landscapes. There Followed a Multitude of Releases on Skylax (Blue Ep) but Also Ornaments, 4lux or Even Circus Company. He Has Just Recently Released 2 Fabulous Remixes for the Soul of the Makossa Man Project (Warehouse Classic 5 & 6). and It Is Logically in View of the Incredible Level He Has Reached in the Development of His Remixes That We Offered Him to Make a New Ep. There Is in This New 12 Inch His Very Personal Touch to the Deep and Sensual but Also Latin House Influences That Surely Would Not Have Denied the Maw but Also the Great David Mancuso (The Loft) Who if He Were Still Alive, We Think Would Have Loved This Ep (Rip). Indeed, Ross Also Manages to Integrate Into His Songs Cinematic Landscapes Worthy of Lalo Schifrin of the 1970s While Maintaining a Club Aspect. Latin Tapes Is One of the Most Beautiful House Bangers We've Heard in a Long Time, a Real Ode to Party and Life. No Love Lost Is Eyeing Moodymann, Mcde and the Brilliant and Forgotten Trus'me. Hootenanny Looks Nothing More or Less Than Isaac Hayes From His Blaxploitation Period. Everything Else Is on the Same Level: City of Love, Sunset Over Antoni De Portmany (Balearic Nights) & Life in the Loire. the Real Question Would Be to Know How He Manages to Obtain This Sound So Classy, ​​the Impression That He Is Accompanied Throughout the Ep by the Philadelphia International Rhythm Section (Gamble & Huff) an Orchestra of Seasoned Musicians. Probably One of the Finest House Records (Or Even Just Music) to Be Released This Year by a Talent as Singular as It Is Elusive. This 12 Inch Is a Masterpiece of Elegance and Refinement....

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Repress!

Supermercado: a mosaic, tangible, colourful to the point of saturaton, anchored in a very real present.
Behind the metaphor that gives the new album its ttle, Corridor examines modernity, takes on this transitonal transiton by looking at where it went wrong: pushed around by big data, apathy induced by oversaturaton, the speeding up of cycles, efort stripped to its bare minimum, physical detachment.
Afer giving the art-rock and jangle-pop treatment to their frst two eforts Un Magicien en toi and Le Voyage Éternel, Corridor stcks to its signature sound: upfront, dissonant guitars upheld by minimal beats and syncopated bass lines, yet also marks a new directon. Supermercado leans on repeated strong melodies, slow progressions, bolstered by two distnct voices, yielding a more hypnotc, sharper, and strangely, poppier result. Corridor recorded this new record in the hallowed halls of Montreal's Breakglass Studios, with Emmanuel Ethier (Chocolat, Bernhari, Peter Peter) assuming producton dutes.

Altered Circuits' next release comes by way of Bologna-to-Berlin transplant Jacopo Latini. On the Motherboard EP he combines stubby drums and sultry, efficient basslines with richly hued synth work. Once the cuts get going, a tapestry of melody reveals itself: gated leads are accompanied by burbling arpeggios, momentous chord progressions and bright pads that crawl in and out. The patches often incline to the bright and dreamy but are deployed with restraint; in the same vein, concealed and aloof vocal samples get sprinkled in. These techniques - staples for the artist - add an inscrutable quality to his work's mood. It is dance music that feels direct on the surface yet hides more ambiguous emotions underneath. Being a DJ was Latini's first approach to the electronic genres, and it arguably still is his main inspiration - it even occurs he writes tracks with a specific venue in mind. Since starting over a decade ago, and having meanwhile swapped the local Italian stages for the international ones, he has amassed a ton of analogue gear to help him do so. On this occasion, he plugged in his Roland D-50, Moog Sub 37 and microKorg XL, among other favorites, to take on progressive, trance and tech house. "Motherboard", "High Voltage", "It Comes In The Morning", and "Dual Effect" make for a diverse selection but have indeed the same objective: the club floor.

HEY,

after receiving so many requests as to whether the Tulpa Ovi releases could also be released on vinyl, we decided to just put ALMOST everything out on record. There will also be an exclusive song called LOSS BREDA FEAT. LYSANN ZANDER, and a damn brilliant edit by KAPOX GRAPÉN by JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

My music and I in the spirit of the times? But not before and neither behind? More like in between somewhere? A side street maybe; I like these better than the busy main streets anyways, as you can still discover things. That’s exactly where I want to be.

Robag Wruhme HEY,

nachdem wir so viele Anfragen erhalten haben, ob die Tulpa Ovi Releases nicht auch als Vinyl veröffentlicht werden könnten, haben wir uns dazu entschieden, einfach FAST alles auf Platte rauszuhauen. Es wird zudem ein exklusives Lied geben, welches
 LOSS BREDA FEAT. LYSANN ZANDER heißt, und ein verdammt genialer Edit von KAPOX GRAPÉN von JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

Meine Musik und ich im Geist der Zeit? Aber nicht davor und auch nicht dahinter? Eher irgendwo dazwischen? 
Eine Seitenstraße vielleicht; die mag ich sowieso lieber als die belebten Hauptstraßen, da kann man noch was entdecken. Genau da möchte ich sein."

Robag Wruhme

City Talk is the new self produced album from Zac Farro’s Halfnoise. City Talk arrives via Farro's Nashville artist collective Congrats Records and follows 2019’s critically acclaimed Motif LP.

Farro, perhaps best known as the drummer of Paramore, has been honing his skills outside of his main gig for years now. He’s released a steady flow of Halfnoise music, he’s produced and played with Becca Mancari and Elke, he's directed videos for Paramore, Hayley Williams, Elke and Halfnoise and he’s a consummate photographer – releasing a photo book in 2020 In Transit and shooting his bands and others, including Local Natives who are currently using Farro’s images as their promo shots.

The LP features a gatefold jacket and exclusive neon green LP.

ARTIST OVERVIEW Mixing warm acoustic tones and strong vocals with heavy emo elements, the band launched several DIY tours, quickly developing a national presence. Signing with Boston indie Topshelf Records, they released their debut album, “The Earth Pushed Back" and in 2014, Have Mercy signed with vaunted indie Hopeless Records, which released their second LP, “A Place of Our Own”, later that year. Working with producers Paul Leavitt (All Time Low) and Brian McTernan (Thrice), Swindle and a rotating crew recorded the band’s Hopeless follow-up, “Make the Best of It”, which was released in early 2017. Have Mercy returned with “The Love Life” in 2019, which charted Swindle’s tumultuous personal life over the previous three years. The band came back in August 2022 with a self-tiled EP, released via Zodhiac Records, which caught the attention of Brooklyn Vegan, FLOOD Magazine, The Noise, and more. In september 2022 they shared an unreleased B-Side from their 2012 EP, My Oldest Friend, titled "Seventeen" via Rude Records. BAND MEMBERS Andrew Johnson // Guitar, Backing Vocals Brian Swindle // Lead Vocals, Guitar, Keyboard Nick Woolford // Bass, Backing Vocals TOURING HISTORY Since 2012, Have Mercy has toured both nationally and internationally with such acts as Taking Back Sunday, Motion City Soundtrack, Senses Fail, Mayday Parade, The Maine, The Wonder Years, Turnover, Real Friends and Neck Deep

On Gary’s forthcoming solo acoustic guitar concept album, each song is shot/recorded with a different vintage acoustic guitar of Gary’s private very rare collection. The instruments range from Martin 0-1898 Herringbone to Gary’s “Main Axe” (over the last 4 decades) Martin D28 1941 Herringbone and 7 other significant guitars for this project entitled “Gary Brewer’s House of Axes”. This is a “getting back to his roots” type feel likened unto Leo Kottke’s 1969 album 6- and 12-String Guitar, with a very stripped down/pure raw microscopic view of the essence and soul of these vintage instruments without the blurring accents of other instrumental accompaniments (in our best efforts to capture the true energy this album was cut with no overdubs, and each song was captured in the first take). There are 9 songs with the last song being a moving tribute to Gary’s late Father Finley Brewer whom he lost to cancer in late 2020. Each of these songs have short introductions that tell about each guitar and the song briefly.

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.