Cerca:man da

After more than a year of road-testing and building anticipation on dance floors worldwide, this eagerly awaited 12" release has finally arrived. Championed heavily by producer and DJ Vick Lavender himself, and supported by legendary selector Joaquin Joe Claussell, demand for this record has reached a fever pitch. With requests pouring in and excitement growing by the day, label head Carl Dupri knew the time was right.

"Girl" manifests as a masterful musical composition, crafted in the distinct deep, soulful style that only Vick Lavender can deliver. Rich textures, warm grooves, and elevated arrangements create an immersive soundscape that speaks directly to the heart and the dance floor alike.

Topping it off is the stunning vocal performance from the incomparable Angel A., whose soulful delivery adds depth, emotion, and timeless elegance to the production.

Pressed and housed in a beautifully designed 12" artwork jacket, this release is the total package-music, message, and presentation. Judging by the overwhelming demand and DJ support, it's only a matter of time before this one disappears from shelves and crates.



Enjoy the Journey

An EP of the darker side of electronic dance music is always a welcome addition to Especial. Up and coming producer / DJ Miles J Paralysis steps away from releasing on his own Crying Outcast label to explore left of centre, new wave and cosmic sounds; songs woven from his own vocals and samples.

A love of Dub, Hip Hop and Electro-Funk led into electronic music. Sampling TV shows, making beats, jamming. Exposed to Leeds and Manchester club cultures, seeking the more experimental. African Head Charge, Muslimgauze, The Rootsman and Weatherall were early influences in forming a no rules philosophy.

Born and raised around West Yorkshire, the beauty and bleakness of the moors have a strong bond on Miles Henry aka Miles J Paralysis and his music. Folklore and the occult link and connect an interest in Northern Hauntology. Unresolved histories, stuck between past glory and phantoms of possible futures.

The EP starts with It’s Only Shadows Talking. A play on the Paralysis persona, the spectral dub house groove meets industrial overtures, encasing his own eerie and unsettling vocals to begin the narrative.

Don’t Forget The Ritual takes a direct link from British folk traditions. Sacred and ceremonial; the laid-back breakbeat, samples and delays are the transition to the evocative embrace of melancholia.

Come On Fleet, the hypnotic Latin (vocal) sample creates a lurking murmuration, rimshot percussion meets gothic sound design for the EPs’ most straight forward and direct club cut.

Surreal and dreamlike soundscape, closing track The Delicate Fairytale is the perfect platform for Miles own phantasm. Inspired by the stories of Dorothy K Haynes and Robert Hickman, the pervading sense of a David Lynch aesthetic, exploring the nostalgic nature of memory.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Ronnie Davis is another mighty Jamaican singer, whose talents have been greatly overlooked. His rootsy yet soulful voice have been in demand by many of Jamaica's producers, and have graced their catalogues over the decades, yet outside of the close reggae circles he has remained a closely guarded secret.

Born Ronnie Davis, in 1950 (Savannah La Mar, Jamaica). His singing career began in the 1960's and like many aspiring young singers, the Talent contests taking part around the Island, was his first introduction to the music scene. This led to him joining the vocal group, 'The Tenors'.  Who shortly after his arrival, released their debut 'The Whole World is a Stage'. This was the beginning of a run of Jamaican 7'' releases that did quite well in the domestic marketplace. But Ronnie had set his sights on a solo career,which came to fruition in the early 1970's, with two big hits for him in the guise of 'Won't You Come Home' and 'Stop Yu Loofing'. Running on through to the mid 1970's with such hits as 'Jah Jah Jehovah','Forget Me Now', 'On and On' and 'Babylon Falling'. Building up to the 1976 classic, 'It's Raining'.

Around this time Ronnie's path would cross with Keith Porter and with his childhood friend Roy Smith they would form one of Jamaica's foremost vocal groups 'The Itals'.  A group who would run until the 1990's and evolve into 'Ronnie Davis and Idren'. Ronnie's releases are very sort after among the reggae aficionados and any tune carrying his vocal talents rarely
disappoint. We have compiled some rare roots dubs to many of his finest cuts. Such gems as 'Chasing You', 'What You See is What You Get', his take on the timeless cut 'Tribal War', 'Tell You' and the a fore mentioned smash 'It's Raining'. A version of Gregory Issac's 'Love Overdue' is also present. Ronnie cut an album worth of material with Mr Issac's, testimony surely to Mr Davis's standing in the Reggae community.

Let’s hope that this release spreads the gospel according to Mr R. Davis, a little wider.  A wicked set by one of Jamaica's finest .....

Respect Jah Floyd.

White Vinyl

The fringes of the desert have a way of changing a man, but the high-altitude chill of the Sierras will strip him down to his soul.

Following the gritty, neon-soaked introduction of his debut, Red Leather returns with his sophomore studio album, TAHOE. If his first record was a desperate sprint through the dark alleys of the soul, TAHOE is the cold morning after—a cinematic, sweeping exploration of isolation, clarity, and the jagged edges of recovery.

Named after the alpine lake that serves as both a sanctuary and a graveyard for secrets, the album navigates the duality of the landscape.

The songwriting dives deep into the "blue" period of his life—tackling themes of sobriety, the weight of sudden fame, and the ghosts of past versions of himself. It is an album about the silence that follows the storm, and the realization that the higher you climb, the thinner the air becomes.

Munich's machine enthusiasts 9ms return to Squama with their third album 'Lunch'.
More heterogenic than its predecessors, the album incorporates Dub-infused IDM, cinematic slow jams and off-kilter drum workouts giving the daring DJ plenty of material to treat dancefloors and listening rooms alike.
On their previous albums Pleats (2021) and II (2023) Florian König and Simon Popp mapped out the musical symbiosis between man and machine, using motion sensors to translate their bodies' movement while playing drums into sound. On Lunch the conceptual centerpiece is the pendulum. Neither man, nor machine, its steady movement is converted into analog voltage with what's called a gyroscope, allowing it to trigger and control any parameter in the duo's setup.
The album was conceived over the course of a year in weekly morning sessions that had to be wrapped up by lunch due to family obligations. The temporal limits, as paradoxically is often the case, turned out to be quite liberating and resulted in a more playful and fearless process.
"We worked pretty efficiently, but since there was no deadline for the album to be finished, the whole process felt very light". The duo also freed themselves from the limitations of having a recording setup that's reproducible for touring.
"We didn't think about the live aspect at all this time." So for every session they would choose from a wide array of instruments and machines, an abundance that has inspired the record's artwork, overflowing with words from the list of gear used on the record.
Sonically, 9ms keep on forging their own niche with thick, compressed drums set against wide stereo-processed soundscapes and a genuine curiosity that's pleasantly contagious.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

Die aus Las Vegas / Orange County stammende Hardcore-/Punk-Band M.I.A. ist zum ersten Mal seit 40 Jahren mit neuem Material zurück! Nachdem sich die Band 2008 zu einem Gedenkkonzert anlässlich desvorzeitigen Todes ihres Sängers Mike Conley wieder zusammengefunden hatte, spielte sie noch einige Jahre mit dem ursprünglichen Sänger Todd Sampson weiter. Leider verstarb Todd kurz darauf an einem Hitzschlag. Die verbleibenden drei Mitglieder beschlossen, weiterzumachen, wobei Gitarrist Nick Adams nun den Gesang übernahm. Im Jahr 2017 veröffentlichte Darla Records die letzten beiden Alben der Band, ,Notes From the Underground" (1985) und ,After the Fact" (1987), erneut auf CD. Ab 2023 begann Modern City damit, den gesamten Katalog der Band auf Vinyl neu aufzulegen, darunter das bahnbrechende Album ,Murder In a Foreign Place" von 1984 (in Zusammenarbeit mit Alternative Tentacles) und ihren Teil der LP ,Last Rites for Genocide and M.I.A." aus dem Jahr 1982. Die Titel dieser neuen Veröffentlichung wurden im Dezember 2025 aufgenommen und umfassen drei brandneue Songs sowie "'Tomic Bomb", einen sehr alten, unveröffentlichten Song, der 1980 von der allerersten Inkarnation von M.I.A. geschrieben wurde, die damals als The Swell bekannt war. Diese Veröffentlichung ist auf 300 Exemplare limitiert und erscheint mit einem handgedruckten Cover und auf farbigem Vinyl.

Reissue of South African pianist Abdullah Ibrahim's classic 1986 LP Water From An Ancient Well on magenta coloured vinyl It features the pianist/ composer with a very strong septet, including such superior musicians as tenor saxophonist Ricky Ford , altoist Carlos Ward , baritonist Charles Davis, and trombonist Dick Griffin who are heard at their most creative and emotional on these eight Ibrahim originals. Many of the songs (particularly "Mandela," "Song for Sathima," "Water From an Ancient Well," and the beautiful "The Wedding") are among Abdullah Ibrahim's finest compositions

Das Remix Paket für Charles Petersohn’s Children Of Zu Zu EP glänzt durch seine Vielfalt zwischen jazzy Broken Beats und Afro/Deep House, mit Re-Works von Mary Olivetti, Moodorama, als420, Viktor Marek, The Greater Manchester Housing Authority und Charles Petersohn selbst.

“Der gemeinsame Wunsch, dass die Tracks der EP an die Idee anknüpfen sollen, dass ein Remix ein eigenes Kunstwerk sein kann, ist voll aufgegangen. Alle Mixe haben eine persönliche Handschrift, nutzen die Originals als Material, mit dem nach Herzenslust gespielt wurde. Ich bin sehr glücklich!” Charles Petersohn

Format: Vinyl 12“ Full Cover mit schwarzer Innenhülle und rundem Sticker

Singer, songwriter, guitarist and producer Butch Walker started out as a member of acclaimed band Marvelous 3 and has since embarked on a solo career, with equal successes as both artist and producer. In addition to five studio albums released since 2002, he was named Producer of the Year by Rolling Stone in 2005. Many of his songs have been hits for other artists, including Weezer’s #1 Modern Rock smash “If You’re Wondering If I Want You To… (I Want You To),” as well as Pink, Katy Perry, Avril Lavigne, Panic! At The Disco, Fall Out Boy, and many others. In 2010 he accompanied Taylor Swift for her live duet with Stevie Nicks at that year’s televised Grammy Awards, and also released his latest artist record, I Liked It Better When You Had No Heart, under the name Butch Walker & The Black Widows.

In 2025, we celebrate 30 years Out Of Line - Three decades of chaos, passion and 0 Years in - Still defiant, still evolving…2026 marks the 30th Anniversary of Massive Ego, and the release of a brand new album: “Symphony Of Flies” is revealed on May 8th, 2026 and marks the band’s first ever vinyl release. Available as Digipak CD and Limited Red Vinyl. Symphony Of Flies is a powerful, defining statement in Massive Ego’s long and uncompromising career, marking not only the band’s 30th anniversary, but also a moment of reckoning, survival and renewal. Across ten tracks, Massive Ego transform personal collapse, recovery and resistance into one of their darkest, most personal and emotional works to date. Musically, the album moves effortlessly between darkwave, electronic rock, EBM, glam-infused bombast and confrontational pop, pairing club-ready intensity with deeply introspective lyricism. Singles such as “In Your Own Darkness”, “Hit The Kerb Running”, “(My) Death Song”, “Man Become Monster”, and “Broken Tomorrow” showcase the band at their most fearless, culminating in a standout collaboration with Boy George, whose presence underscores the album’s themes of endurance, reinvention and personal growth. Lyrically, Symphony Of Flies reads like a confession and a journal. Frontman Marc Massive confronts mental health, betrayal, isolation, and the long climb back from the brink, reframing darkness not as something to romanticise, but something to fight through. The album’s central metaphor, the “Symphony Of Flies,” evokes surveillance, toxicity, decay and transformation: the unseen forces that drain, observe, and attempt to undermine, until they are finally confronted and dispersed. “The worst things that happen to you are the best things that happen to you”

Dam Swindle tap Kerri Chandler, Louie Vega, Folamour, Cinthie & more on 100th Heist release.

The ‘House of House’ V/a takes in nineteen all-new tracks from some of house music’s most revered names and new-school talent.

Dam Swindle present ‘House of House’, a triple vinyl V/a compilation marking the one-hundredth release milestone on Heist Recordings, landing on 8th May 2026. Across nineteen all-new tracks, ‘House of House’ reads like a roll call of modern house royalty.
The compilation features contributions from scene legends and contemporary torchbearers alike, including Kerri Chandler, Two Soul Fusion (AKA Louie Vega & Josh Milan), Folamour, Cinthie, Kolter, DJ Sneak, and Supershy, the dance music alias of Tom Misch, alongside rising talents like Papa Nugs, Lolu Menayed, and many more.

From the old-school magic of tracks like Dam Swindle’s ‘Back to the Old School’ feat. DJ Minx and Kolter’s ‘Need U, Want U’, to the jazzy, soulful depths of Kerri Chandler’s ‘Kerriousity’ and Superhy’s ‘Pyrenees’, to the peak-time energy of Papa Nugs & Mixolydian’s ‘Let Go’ and Elisa Elisa’s ‘Coco Coco’, the compilation captures the full spectrum of house sounds that have shaped the world of Heist Recordings over the past 13 years.

Launched in 2013, Heist Recordings has become a high benchmark for quality house music – a home for legendary artists like Cinthie and DJ Sneak, and a breeding ground for new talent from Kassian to Make`z. Dam Swindle have cemented their place among the upper echelons of modern house, with three critically acclaimed LPs, collaborations with the likes of Kerri Chandler, Tom Misch, and a relentless tour diary.

‘House of House’ reflects the ethos that has defined our label since day one: a home for house heads who bring genuine soul to club music, whether they’re legendary originators or new-school up-and-comers. Heist’s one-hundredth release is more than just a number – it’s a testament to the community, creativity, and legacy we’ve built, release after release.

As always enjoy the music and play it loud.

Much love, Heist HQ

„Ranjha“ ist das neue Album und die Zusammenarbeit des preisgekrönten Komponisten und RadioheadGitarristen Jonny Greenwood, des gefeierten Komponisten und Musikers Shye Ben Tzur und des indischen
Ensembles The Rajasthan Express. Das Album ist der Nachfolger ihres gefeierten Debüts „Junun“, das
gerade sein zehnjähriges Jubiläum feierte. Während „Junun“ in einem provisorischen Studio im Mehrangarh
Fort aus dem 15. Jahrhundert in Rajasthan, Indien, aufgenommen wurde, entstand „Ranjha“ in einem
intimeren Rahmen – in Jonny Greenwoods Studio in Oxford, England.
Zum 10-jährigen Jubiläum von „Junun“, das von der Kritik hochgelobt wurde – unter anderem als Album
des Jahres von der Sunday Times, die es als „eine der inspiriertesten Veröffentlichungen des Jahres“
und „faszinierend, vielschichtig und unbedingt hörenswert“ bezeichnete –, veröffentlichte BMG am 16.
Januar 2026 eine Sonderausgabe des Originalalbums. Die Entstehung von „Junun“ wurde vom gefeierten
Filmemacher Paul Thomas Anderson dokumentiert und bietet einen intimen Einblick in den kreativen
Prozess und den pulsierenden Alltag während der Albumproduktion. „Ranjha“, das am 8. Mai 2026
erscheint, wird als spezielle rote und korallenrote Splatter-Vinyl-Edition im Gatefold-Cover sowie als CD
erhältlich sein. Das Album enthält elf brandneue Tracks, die den charakteristischen interkulturellen Sound
der Band mit einem modernen Touch verbinden. Es erscheint kurz nach der vielbeachteten Radiohead-Tour,
die Ende 2025 zu Ende ging.

Camera Obscura feiern das 25-jährige Jubiläum ihres Debütalbums ,Biggest Bluest Hi-Fi" mit einer Vinyl-Neuauflage bei Merge Records. Seit der ursprünglichen Veröffentlichung in Großbritannien bei Andmoresound im Jahr 2001 ist das Album in diesem Format vergriffen. Die Jubiläumsausgabe kommt als die definitivste Version von ,Biggest Bluest Hi-Fi", die je auf Vinyl gepresst wurde, und enthält beide B-Seiten der Single ,Eighties Fan" - ,Shine Like a New Pin" und ,Let's Go Bowling" -, die später den erweiterten CD-Neuauflagen des Albums hinzugefügt wurden. ,Biggest Bluest Hi-Fi" wurde nach seinem Erscheinen wiederholt von John Peel in seinen BBC-Radiosendungen gespielt. Das Album ist ein bemerkenswert selbstbewusstes Debüt, ein voll ausgereifter Ausdruck eines Sounds, der die Fans der Band seit ihrem ersten Durchlauf des von Stuart Murdoch (Belle & Sebastian) produzierten ,Eighties Fan" bis zum letzten Hören des 2024 erschienenen Studio-Comebacks von Camera Obscura ,Look to the East, Look to the West" in seinen Bann gezogen hat. Diese Fans haben lautstark gefordert, dass ,Biggest Bluest Hi-Fi" die Vinyl-Neuauflage erhält, die es schon lange verdient hat. Wenn man die Nadel auf Tracks wie ,Swimming Pool", ,Pen and Notebook" und ,Happy New Year" setzt, ist leicht zu hören, warum: Jeder der 12 Songs des Albums ist ein perfekt beobachteter Ausschnitt aus dem Leben, der durch opulent detaillierte Arrangements filmisch inszeniert wird. Es ist zeitlose, grundsolide Popmusik, wie sie nur Camera Obscura machen kann, geeignet für die Hi-Fi-Anlagen von 1966 und 2026 gleichermaßen.

• Jackie Dee’s ‘Who’ was one of many great tape finds from Detroit producer Dave Hamilton’s vault in the 90s and first came out on CD in 1999. In 2015 Ace licensed that version to Colemine Records in the USA who issued it on their First Light subsidiary. That disc is now deleted and fetching a high price.
• In recent years we have found the multi-track tape with an extended version of the recording and an instrumental take on it that features Dave Hamilton’s vibes-playing. The vocal side is a full one minute and forty seconds longer than the original release.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

Die Power-Punk Band ERECTION aus Regensburg steht für das, was moderne Musik oft nicht mehr zu bieten wagt: kompromisslose Ehrlichkeit, rohe Emotionen und eine Klangwelt, die sich irgendwo zwischen Hoffnung, Überforderung und purem elektrischen Aufbruch bewegt. Mit ihrem neuen Album präsentieren sie eine Sammlung von Songs, die das Lebensgefühl einer Generation einfangen, die zwischen Burnout und Selbstentdeckung, zwischen Existenzkampf und Freiheitsdrang ihren Platz sucht. Ihre Musik verbindet moderne Pop- und Elektro-Elemente mit rockiger Direktheit und einer lyrischen Offenheit, die man selten findet. Die neue Platte zeigt diese Ambivalenz deutlicher denn je: laut und leise, hart und zerbrechlich, düster und gleichzeitig voller Sehnsucht nach Licht.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect