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Hampus Lindwall’s Brace for Impact might just be the first album of post-internet pipe organ music. It’s an album of five new contemporary classical compositions, all performed by the composer himself on the 78-stop grand organ at St. Antonius church in Düsseldorf, Germany. Featuring the electric guitar of SUNN O)’s Stephen O’Malley on the title track. A highly visceral forty-five minutes of music with undeniable elemental power.
As 2024 came to a close, in New York and Paris chords rang out from thirty-two-foot pipes for the first time in half a decade. Following twin fires in 2019, the grand organs at the cathedrals of St John the Divine and Notre-Dame, amongst the largest instruments in their respective countries, had finally been restored. The news was justly celebrated in the international press, but the incidents were far from isolated. In England, the city of Norwich hailed the return of its cathedral’s five manual organ in 2023 and just two years earlier York Minster heralded a “once-in-a-century” refurbishment of its own 5,000-plus pipe instrument. Meanwhile, further organ restoration projects are ongoing at churches in Liverpool, Bradford, Bristol, Winchester, and Washington DC. Significant as they are to their respective communities, they’re also emblematic of a wider rebirth for one of humanity’s oldest musical instruments.
The organ is having a moment. Over the last few years, albums by the likes of Kali Malone, Ellen Arkbro, Anna von Hausswolff, FUJI|||||||||||TA, and Áine O’Dwyer, as well as projects in the visual arts by Sollmann Sprenger, Cory Arcangel, Massimo Bartolini and many other talented artists, have given a new prominence to the old ecclesiastical stalwart. The pipe organ bears historical traces which stretch back to the third century BC. But that doesn’t mean it can’t speak to a contemporary moment haunted by algorithms and networked culture. Hampus Lindwall’s Brace for Impact is an album of organ music for today.

This is certainly both a mysterious one and an elusive one! Who were Grupo Natureza (Nature Group), and why is this release such a rarity? ‘Pode Acreditar’ was pressed on Som Livre Records in 1981 and it is believed very few copies were released into the commercial market. Those familiar with the productions of Lincoln Olivetti and Robson Jorge will no doubt recognise their hallmark sound here and that this single is ‘probably’ the work of the pair or one member at least. They were a regular in-house production team at Som Livre at the time, and there is a definite resemblance to Adriana’s song ‘Sei la Amor’ from 1978 which Lincoln Olivetti was involved in. Very little information is available about this release. A tantalising comment by Brazilian collector ‘bargainvinyl1’ on the original release’s Discogs page suggests ‘Pode Acreditar’ was a reaction to the Baby Consuelo and Pepeu Gomes pro-marijuana song ‘O Mal o Que Sai da Boca do Homem’, which caused controversy with Brazil’s governing military dictatorship at the time. Though condemning marijuana’s use, the word “baseado” (joint) is mentioned in the song, and this could be the reason behind the release being pulled by the heads of Som Livre and consequently it becoming one of the rarest releases on the label. Whilst its backstory is not crystal clear, it is an undeniable sun drenched, laidback boogie groove with AOR touches by the clandestine group. Pure 80s Riovibes, super-catchy and an earworm that sticks with you throughout the day.

- Next installment in BRAZIL45 Series.
- One of the rarest releases on the Som Livre label.
- Pure 80s laid back boogie grooves.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

"Layers of Afternoon" soll eine bestimmte Zeiterfahrung widerspiegeln - etwas Greifbares und zugleich Unbestimmtes, das gefühlt, aber nicht leicht beschrieben werden kann. Diese Momente tauchen oft in Mustern auf, manchmal mal kurz, mal lang anhaltend, aber immer prägend. Wir erkennen ihre Einzigartigkeit, und doch sehnt sich etwas Unbewusstes in uns danach, diese Muster zu erkennen und ihnen zu frönen. Vielleicht vermeiden wir es, über sie zu sprechen, weil wir befürchten, dass sie banal oder belanglos klingen, doch sie kehren oft in unsere Erinnerungen zurück und bieten uns kollektiven Trost. Für Keith Kenniff alias Goldmund kann die Sprache diese Erfahrungen kaum vermitteln; nur Kunst und Musik scheinen das, was sie besonders macht, am ehesten einzufangen. Kenniff erklärt: ,Mein Ziel für die Musik in Layers of Afternoon war es, diesen Zwischenraum zu finden und von dort aus zu schreiben, in der Hoffnung, meine Erfahrung der Welt als ideal zu vermitteln - frei von Zielen, musikalischer Ausbildung oder emotionaler Komplexität. Ich wollte diesen Raum aufsuchen und die Momente im Akt der Schöpfung frei schweben lassen." In Zusammenarbeit mit dem Geiger Scott Moore erschafft Kenniff eine Klanglandschaft die sich zwischen Nostalgie und flüchtiger Gegenwart bewegt und es dem Hörer ermöglicht, sich durch die verschwommenen Ränder der Erinnerung treiben zu lassen.

Divine Dances. In plural form.
The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title.


Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand—no, by the ear, obviously!—to bring everyone back to the dance floor and explore a variety of atmospheres together.


And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together.
Divinely light.


The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score.


One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well.


Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Grégoire Mahé to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices.


Gathered on this dance floor illuminated with 80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove.
Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated : he's doomed to fail.


OUT MAY 2025 DELUXE WHITE VINYL 180 G /CD / DIGITAL

C1 | Meduza, Onerepublic, Leony – Fire (Official Uefa Euro 2024 Song)
C2 | Ofenbach Feat Norma Jean Martine – Overdrive
C3 | Kygo, Ava Max – Whatever
C4 | Felix Jaehn & Leony – Waking Up
C5 | Jaxomy X Agatino Romero X Raffaella Carrà – Pedro
C6 | Artemas – I Like The Way You Kissed Me
D1 | Michael Marcagi – Scared To Start
D2 | Cyril – Stumblin' In
D3 | Ariana Grande – Yes, And?
D4 | Jack Harlow – Lovin On Me
D5 | Tate Mcrae – Greedy
D6 | Natasha Bedingfield – Unwritten
E3 | Benson Boone – Beautiful Things
E4 | Teddy Swims – Lose Control
E5 | Sabrina Carpenter – Taste
E6 | Noah Kahan – Stick Season
F1 | Justin Timberlake – Selfish
F2 | Shawn Mendes – Why Why Why
F3 | Ariana Grande – We Can't Be Friends (Wait For Your Love)
F4 | Purple Disco Machine & Benjamin Ingrosso Feat Nile Rodgers & Shenseea) – Honey Boy
F5 | Lost Frequencies, Tom Odell – Black Friday (Pretty Like The Sun)
F6 | Hugel, Topic, Arash Feat Daecolm – I Adore You
G1 | David Guetta & Onerepublic – I Don't Wanna Wait
G2 | Karol G – Si Antes Te Hubiera Conocido
G3 | Fourty & Bausa – Vempa (Frx202445570)
G4 | Sampagne, Badchieff, Cro – Tempo
G5 | Billie Eilish – Lunch
G6 | Kendrick Lamar – Not Like Us
H1 | Zartmann, Ski Aggu, Dauer – Wie Du Manchmal Fehlst
H2 | Soffie – Für Immer Frühling
H3 | Sdp, Sido, Esther Graf – Mama Hat Gesagt
H4 | Nina Chuba – Nina
H5 | Luciano X Jazeek – Starboy
H6 | Shirin David – Bauch Beine Po
E1 | Lady Gaga & Bruno Mars – Die With A Smile
E2 | Gracie Abrams – I Love You, I'm Sorry


Bevor sich das Jahr 2024 dem Ende neigt, erscheint mit der „BRAVO – The Hits 2024“ der alljährlich
beliebte Jahresrückblick voller Hits und Chartstürmer. Ganz nach dem Motto „End Of Beginning“ vereint das Album von Anfang bis Ende die erfolgreichsten Songs und musikalischen Highlights des Jahres 2024.
Wenn Chappell Roan „Good Luck, Babe!” wünscht, Sabrina Carpenter „Espresso“ trinkt, The Weeknd in
den Flammen tanzt und MEDUZA, OneRepublic und Leony on „Fire” sind, kann das nur eines bedeuten:
Die „BRAVO - The Hits 2024“ steht in den Startlöchern und versorgt uns mit den größten Hits und beliebtesten Singles. Mit dabei sind internationale Bands und Künstler*innen wie Billie Eilish, Linkin Park,
Hozier, Coldplay, Justin Timberlake, Ariana Grande sowie deutsche Newcomer und Stars wie Shirin David,
Zartmann oder Nina Chuba.
Das Besondere dieses Jahr: Die beliebte Hit-Compilation erscheint erstmals auch limitiert als 4LP. „BRAVO
– The Hits 2024“ ab 08.11. als 2CD & Download und pünktlich zum Nikolaus als 4LP erhältlich!

TXT ist, im Anschluss an die Name Chapter-Alben und die zuletzt erschienene minisode 3: TOMORROW, mit einem neuen Minialbum „The Star Chapter: SANCTUARY“ zurück. Zum ersten Mal in einer VinylVersion mit dem Hit ”Over The Moon”.

Zu den Inhalten des Albums gehören eine malvenfarbene und klare Splatter-Vinyl, eine Außenhülle, ein Poster-Set (je 8 Stück), ein Sticker-Pack und ein Lyric-Buch (8 Seiten).

Orbital London returns after a three - year hiatus with "Revenant EP" , marking its lucky number seven release — this time featuring Jack Michael and the debut of Romanian duo The Apricots , consisting of Alexandra and DJ Slim Fit . A destined musical match, as Alexandra has been an Orbital fan since the very beginning.

Staying true to its concept, the release features two original tracks — one from each artist — while pushing creative boundaries as they remix each other's work.

On Side A , Jack Michael’s “Infinity” goes fast and driving with a heavy bassline, blending breakbeat and techno flavors. A haunting winding melody and a mysterious vocal add to the track’s hypnotic energy. The Apricots’ remix of Jack’s track blurs the lines between electro and breakbeat, with a trance vibration in the underneath layers and surprise dubstep insertion with a dirty bassline.

On Side B , The Apricots’ “Subdued” is powered by the rich, broken - beat percussion and a wild, rave - inspired bassline. As the title suggests, the heaviness of the bas s is m omentarily tamed by the emotive pads and melodies — only to return stronger for a different , yet electrifying bass interlude, topped with a deep male vocal. Jack Michael’s re shape of "Subdued" takes a dreamier approach, crafting a deeper breakbeat journey, dominated by long hefty bass wave s and bathed in quirky synths and etherial pads.

Repress Of the fantastic Signal Electric selfnamed tune from Perce Oreille (with a Big Up to Reno Expressillon from Signal Electric) - And 3 mores electro tunes from Signal Electrique. A superb Malice... Growing more and more dancefloor.

"The past few years has seen an explosion in pop music, with new artists breaking with unforgettable songs and (re)establishing pop, with influences from different genres and places, at the top of the charts.
NOW Music are very proud to present NOW That’s What I Call Pop! – 38 massive pop anthems - including 8 UK #1s – and with all tracks featured on a stunning 3-LP vinyl pressed in a different colour for each disc: Bright Yellow, Hot Pink and Baby Blue, releasing 23rd May 2025."

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Die malische Ethnie der Dogon sind für ihre Tier-Masken und rituellen Tänze weltweit berüchtigt. Auch ihr unglaubliches astronomisches Wissen - wichtige Feste orientieren sich an der Laufbahn von Sirius B, einem mit bloßem Auge nicht zu erkennenden Planeten - lassen westliche Forscher seit über hundert Jahren rätseln. Aber hat man schon jemals von der Musik dieses Mythen-umrankten Volkes gehört? Petit Goro hat als erster Musiker die traditionellen Dogon-Rhythmen für ein junges, modernes Publikum aufbereitet, ja er ist der erste Popstar der Dogon überhaupt. Wenn er sich auf einer der Freiluftbühnen von Bamako seine Gitarre umhängt, dann wirbeln tausende von Tänzern den Staub auf. Es ist ein Sound, der bisweilen so klingt, als hätte es Junior Kimbrough, R.L. Burnside und die One-Chord-Vamps des Mississippi Hill Country Blues an den Niger verschlagen. Pentatonische Akkorde. Dogon-Chants. Und der Sog seiner Band - die mit Bass, Gitarre und traditioneller Perkussion Richtung Trance reitet. Petit Goro besingt dabei den Kampf um die eigene Kultur und Identität. Der Popstar ist das Aushängeschild einer neuen Bewegung : Die jungen Dogon haben angesichts der Bedrohung, - fast jede Woche wird ein Dogondorf von Dschihadisten attackiert - ihre gefährdeten animistischen Traditionen wiederentdeckt. Überall in Bamako sieht man Jugendliche stolz ihre Dogon-Tracht tragen. Petit Goro aber trägt ihre Botschaft in die Welt hinaus, rockt archaische Traditionen mit einem nie gehörten Dogon-Blues

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.