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'“Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés.

The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”).

On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment- bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind? No... as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite.'

"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola.
Photos and color grading by Filippo Corsi.
Graphic project and design by Flavio Mancini.
Vinyl pressed by AFG Record Manufacturing.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

1976 hatte Michael Hoenig eine kurze Zusammenarbeit mit Manuel Göttsching von Ash Ra Tempel in Berlin; eine 48-minütige Aufnahme einer der Sessions, die 1995 unter dem Titel "Early Water" auf Bernd Kistenmachers Label Musique Intemporelle veröffentlicht wurde. Das Album wurde gestrichen und war lange Zeit nicht erhältlich. Nun wird es endlich eine Wiederveröffentlichung von "Early Water" geben. Michael Hoenig erinnert sich noch: "Während ich an dem Album "Departure From The Northern Wasteland" arbeitete, hatte mich Manuel Göttsching gefragt, ob ich mit ihm für einige Konzerte in Frankreich zusammenarbeiten würde, da seine Gruppe gerade eine Winterpause eingelegt hatte. Wir probten drei oder vier Wochen bei mir zu Hause. Eines Abends bekamen wir einen Anruf wegen einer fehlenden Garantie, woraufhin wir beschlossen, die Tournee abzusagen. Nur zum Spaß spielten wir ein letztes Mal eines der geplanten Sets. Obwohl ich mich nicht daran erinnern kann, eine Aufnahmetaste gedrückt zu haben, hat jemand kürzlich ein Revox-Band mit eben diesem Set ausgegraben. Nach einer digitalen Klangarchäologie wurde es soeben unter dem sehr passenden Titel "Early Water" veröffentlicht." Und Manuel Göttsching fügt hinzu: "Leider wurden einige Konzerttermine nicht rechtzeitig bestätigt und wir mussten die komplette Tournee erst am Tag vor der Abreise nach Frankreich absagen. Dennoch haben wir an diesem Abend unsere letzte Probe "für alle Fälle" aufgenommen. Es ist ein fließendes, harmonisches Stück geworden, das viel von der optimistischen Stimmung des Jahres 1976 widerspiegelt. In den frühen 1980er Jahren zog Michael nach Los Angeles. Als wir uns im November 1994 wiedertrafen, schlug ich vor, dieses alte Stück von uns zu veröffentlichen. Michael nahm das Originalband mit nach Los Angeles, restaurierte es liebevoll und nun, hier ist es wieder!"

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Cryovac is a family of artists that work as one machine. Individual style bands together and moves, as cogs, this machine forward. A.Garcia maintains and manages production on every level, even the pressing at the world famous Archer Record Press. Cryovac is a collaboration between artists and craftsmen to make a quality product. Each project Cryovac champions is meant as a gift for the true believer.

Cryovac #28 starts out with Jason Garcia's frantic head banger “Trapped in purgatory”. This classic 4/4 rocker builds intensity by layering screaming tones to crescendo in a steady drive. “Ichabod”, Garcia’s second track on the A side, is a spartan groove with a stoic delivery of minimalism; a stripped down rhythm with a serious attitude.

A.Garcia and M.Kretsch begin the B side with a reggae-punk techno experiment that delivers a rowdy funk.“Rock the dance bah” is Clash inspired minimal with a walking bassline, texas style percussion, and a guitar twack on the up beat. Garcia and Kretsch collab again on the B2 with “Stillgar”; a blend of synths working around each other as one storm guiding a rambunctious beating to a mystic reverie. These tracks illustrate the duo's production method and approach to the techno sound.

Our artwork for this release was provided by Nick Retzlaff. He is an artist and stand-up comic living with autism, and expressing his unique view of the world.

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

Bô'vels Streetsoul-Hymne 'Check 4 U' (1996) ist einer der unbestreitbarsten Underground-Klassiker der Mitt-1990er Piratenradio-Ära, der britische Soundsystem-Kultur, den Clubsound der Manchester-Streetsoul-Szene, Dub-Hip-Hop der Bristol-Bewegung und Reggae-Soundsystem-Bässe miteinander vereint. Nun erscheint mit CHANGES ein Sampler von 'Manchesters beliebtester Soul-Diva' mit diesem Kulttrack und neun weiteren unveröffentlichten Raritäten aus der ungefähren Schaffensperiode 1997-2008, die von Streetsoul über Reggae und Breakbeat bis Downtempo reichen.

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

Die von der Zeit als "Klassensprecher einer ganzen Generation" betitelten und von hunderttausenden Festivalbesuchenden in Deutschland, Österreich und der Schweiz als einer der besten Live Acts bezeichnete Band OK KID, sind NACH 10 Jahren "Endlich wieder da wo es beginnt"! Wenn OK KID 10 Jahre Jubiläum feiern, merkt man erst selbst, wie alt man doch geworden ist. Ist das wirklich schon eine Dekade her, dass man zu "Kaffee warm" seinen Liebeskummer im braunen NASS ertränkt hat und sich bei "Stadt ohne Meer" freude-taumelnd in den Armen lag?! Yes, it is. Apropos STADT OHNE MEER: Seit 5 Jahren haben die KIDS ihr eigenes Festival in besungener Stadt Gießen. Dort, wo für die KIDS der Startpunkt ihrer fulminanten Karriere war. Doppeltes Jubiläum also. Es hätte keinen besseren Ort und Zeitpunkt geben können, um ihr neues Album "Endlich wieder da wo es beginnt", genau an diesem Ort, anzukündigen. Wie der Name schon anmuten lässt: Ein Hybrid aus Vergangenheit und Zukunft. Neue Songs, überraschende Kollabos und Klassiker im neuen Soundgewand.

Platz 2 Powermetal SOUNDCHECK 01/24
Die aus Brisbane stammende Band Caligula's Horse hat sich seit ihrer Gründung im Jahr 2011 zu einer der führenden Progressive-Metal-Bands der Welt entwickelt. Mit Charcoal Grace, ihrem 6. Studioalbum, kehrt die Gruppe mit einer Kombination aus roher Rock-Power und immenser emotionaler Tiefe zurück. Charcoal Grace ist aus der statischen Hoffnungslosigkeit geboren, die die Pandemie der Band und einem Großteil der Welt in den letzten Jahren aufgezwungen hat. Es ist ein Album, das mit den Erfahrungen und Ergebnissen dieser Zeit abrechnet und letztlich auf eine Katharsis abzielt - auf eine hoffnungsvollere Zukunft. Der Titel Charcoal Grace wird von der Band als "die düstere Anziehungskraft und seltsame Schönheit von Stille, Schweigen und Verlust" beschrieben. Das kann man im 10-minütigen Eröffnungstrack "The World Breathes With Me" hören, einem Mission Statement für die Hauptthemen des Albums. Musikalisch ist es ein Werk der Kontraste, das sich von der leichtesten Ebbe bis zum schwersten Fluss bewegt. Der zweite Track und die erste Singleauskopplung des Albums, "Golem", befasst sich mit dem Kampf mit der Last der Erwartung durch die Pandemie. Es ist ein schwerer Song mit Schwerpunkt auf Riffs und treibenden Rhythmen. Im Mittelpunkt des Albums steht die vierteilige Suite des Titeltracks, ein 24-minütiges Werk, das die grundlegenden Themen des Albums vertieft: Verbindung, Entfremdung und die Art und Weise, wie die Menschheit unter Zwang handelt. Musikalisch deckt es alle Facetten des Vokabulars der Band ab, von schwerer und dichter, orchestral begleiteter Intensität, die die dunkelsten lyrischen Ideen der Songs verkörpert, bis hin zu sanften, akustisch geprägten Momenten und Introspektion. Nachdem Caligula's Horse in den letzten Jahren nicht in der Lage waren, ihr letztes Album Rise Radiant der Welt zu präsentieren, sind sie nun bereit, Charcoal Grace auf schonungslose Art und Weise unter die Leute zu bringen. Mit diesem Album hat Caligula's Horse ein Statement abgegeben, und sie sind bereit, dass die Welt zuhört. Charcoal Grace ist erhältlich als Gatefold 180g 2LP

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

As with Directstep (recorded one week previously), this album was recorded, and originally only released, in Japan. It was one of Hancock's most successful albums in Japan, perhaps because it was entirely solo piano.

Hancock tackles jazz standards such as "My Funny Valentine", "On Green Dolphin Street" and "Some Day My Prince Will Come" while also performing four original compositions.

Mitte der 1970er erlebten Diskotheken in Tokio und ganz Japan einen Boom, als die Disco-Welle aus den USA zu ihnen rüberschwappte. Bis in die frühen 1980er hinein wurde die Musik von erfahrenen Studiomusikern - und nicht per Computereinspielung - aufgenommen, was für einen soliden Sound auf dem Dancefloor sorgte. Disco-Musik lief auch in TV-Serien, Werbespots und Animes. Von Godiegos Monsterhit 'The Birth Of The Odyssey – Monkey Magic' bis zu Pink Parachutes obskurem (und ausgezeichnetem!) 'Disco Great Tokyo' erkundet diese Auswahl einige der besten Disco- & Boogie-Tracks, die Ende der 1970er/Anfang der 1980er auf dem legendären Nippon Columbia-Label veröffentlicht wurden.

ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.

The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.

Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer. 

EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!

Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino

Nach den ersten geheimnisvollen, ohne viele Informationen gestreuten Songs „leichter//kälter“ und „Die
Sonne in deinem Zimmer“ dürfte man Edwin Rosen inzwischen auf dem Schirm haben. Diesen anfangzwanzigjährigen Ausnahmekünstler, dessen Songs sich mit ihren stoisch-sehnsüchtigen Eigenproduktionen, psychedelischen Soundscapes und sonorem Gesang gekonnt zwischen New- und Dark-Wave, Post-Punk
und Synth-Pop bewegt. Dass nicht nur Edwin Rosen selbst diese musikalische Melange als neueneuedeutschewelle,
die mittlerweile eine ganze Generation junger Musiker:innen beeinflusst hat, umschreibt, ist dabei nur konsequent. Seine erste Single „leichter//kälter“ schafft es bis auf Platz 6 der Single-Trendcharts und im
November 2023 spielte er seine ausverkaufte Headline Tour.

Nach den ersten geheimnisvollen, ohne viele Informationen gestreuten Songs „leichter//kälter“ und „Die
Sonne in deinem Zimmer“ dürfte man Edwin Rosen inzwischen auf dem Schirm haben. Diesen anfangzwanzigjährigen Ausnahmekünstler, dessen Songs sich mit ihren stoisch-sehnsüchtigen Eigenproduktionen, psychedelischen Soundscapes und sonorem Gesang gekonnt zwischen New- und Dark-Wave, Post-Punk
und Synth-Pop bewegt. Dass nicht nur Edwin Rosen selbst diese musikalische Melange als neueneuedeutschewelle,
die mittlerweile eine ganze Generation junger Musiker:innen beeinflusst hat, umschreibt, ist dabei nur konsequent. Seine erste Single „leichter//kälter“ schafft es bis auf Platz 6 der Single-Trendcharts und im
November 2023 spielte er seine ausverkaufte Headline Tour.

180g, schwarzes Vinyl. Gatefold-Sleeve. Es ist ein bisschen schade, dass das Album von Monta erst jetzt kommt. Denn es wäre ein so perfekter Begleiter durch den Sommer gewesen. Für die guten und die verregneten Tage, die wachgelegenen Nächte und die Ohrstöpsel-Fahrradfahren ins Gegenlicht hinein. Diese Songs entwickeln ihre Wirkung in den (metaphorisch oder wörtlich) betrunkenen Momenten mit anderen, mit denen man gern zusammen möglichst laut die Refrains aus der Bluetooth-Box mitsingt. Genauso gut aber auch in den Zeiten, in denen man von all dem Sonnenlicht und Rausgeh-Trubel eher ein wenig Herzschmerz kriegt. Weil man plötzlich an Menschen denken muss, die weit weg sind oder gar nicht mehr da. Und man sich plötzlich den Super-8-Film anschaut, der im eigenen Kopf abläuft, und auch den findet man eigentlich schön. Monta, das ist und war schon immer Tobias Kuhn. ,Pacific" ist sein erstes neues Album seit 2007, und obwohl das wirklich eine lange Zeit ist, erinnert man sich noch sehr gut: Tobias Kuhn war immer schon ein Sänger, Songschreiber und Musiker, der das Intime und Hymnische, das psychedelisch Nachglühende und die große, alles vereinende Melodie zusammenbringen konnte. Nicht abwechselnd, sondern beides in einem. Und die beste Nachricht: Auf den neun Songs von ,Pacific" gelingt ihm diese hohe Kunst noch glänzender, vielschichtiger und bildstärker als je zuvor. Und die noch bessere: Es gibt ja bald wieder einen Sommer. Bis dahin können wir die Songs dann auch auswendig mitsingen, also beste Voraussetzungen.

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

Produced by legendary dub-master/producer Mad Professor, 'Black Attack' is Mutabaruka's first album in 14 years and will be an event in reggae circles

The 14 tracks feature Mutabaruka's incisive lyrics over hard- hitting reggae rhythms from dub versions, including a tribute to reggae legend Lee "Scratch" Perry.

"Black Attack" by Mutabaruka includes the following tracks: "No Church Today", "Dub Is Black", "Black Man Black Man", "One Of Dem Days" and more

Cam Cameron appears to be another one of those performers from an infinite list of Black American artists that cut a solitary 45 single and then disappear into obscurity never to be seen or heard from again. Couple this with the passing of any of the relevant protagonists from the time along with any of the surviving ones ever diminishing memories and the job of collating events and artists back stories from over 50 years ago becomes that much harder.

Cam Cameron appears to be one of those artists (although our investigations are ongoing). Therefore, from the information currently gleaned, the artist Cam Cameron was none other than Alvin Cameron the writer of the featured song “You Say”, with Cam being a kind of nickname. The string arrangements on both “They Say” and “I’m A Lonely Man” were provided by the late John Andrew Cameron a hugely respected arranger, producer and songwriter within the Chicago music scene of the 1960’s and early 70’s, more often credited as Johnny Cameron. Johnny’s credits can be found on many recordings of the time often working with fellow Chicago music scene producer Clarence Johnson, some of the highlights from this liaison being the song “I Really Love You” recorded by both Jimmy Burns (Erica) and Bobby James (Karol) and the girl group, ‘The Lovelites’, on their acclaimed album “With Love From The Lovelites” (Uni). Johnny’s involvement with the Scott Brothers goes as far back as 1965 when he provided the musical arrangements on The Howard Scott penned song “I’ve Got To Get Over” recorded by Syl Johnson for the TMP-Ting label. Although they share the same surname, Alvin (Cam) Cameron is believed to be of no relation to Johnny Cameron.



“You Say” would gain a release on the independent Capri label owned by Sephus Howard Scott who together with brother Walter Scott composed the 45’s flipside “I’m A Lonely Man”. Howard also featured as one of the songs producers alongside the mysterious Edgar Mullins (a name which has been found on a couple of other tape boxes, the investigations continue).

Musical accompaniment was provided by The Scott Brothers Band, with both songs being recorded at RCA Victor’s Chicago number 2 Recording Studio at 445 North Lake Shore Drive, in the Navy Pier section. on the 10th of August 1967 and released on Capri Records during the month of February 1968.



Cameron’s “You Say” was another 45 that was first introduced to UK Soul Collectors via those much lamented and fondly remembered soul packs, always regarded as a quality collector’s 45 the only regular turntable action remembered was provided by Northampton’s very own discerning DJ Cliff Steele at venues such as ‘Detroit Academicals’, ‘Bretby Country Club’ and later ‘Albrighton’ during the leaner days of the UK Rare Soul Scene?! Hopefully a wider appreciation of both sides of this soulful Windy City 45 beckons! The second release in Soul Junction’s Capri series.

Here it finally is, the first ever official reissue of all recorded material by Zyklome A, and as a bonus one unreleased track plus unreleased live recordings! One of Belgium’s earliest and most primitive hardcore punk bands’ legendary ‘Made In Belgium’ LP has been one of the rarest artifacts in the genre, and although it was bootlegged many times, the reason why an official reissue on vinyl has never been published is complicated. Zyklome A’s story starts in the middle of nowhere: in Bonheiden in early 1980, above a bank office. Brothers Bie and Toon Puttemans started shredding and terrorizing ears and minds with Markus Verbeeck, without any knowledge of anything close to a scene or other people doing what they were doing. Completely isolated, they were struck by lightning with the genius idea of speeding up punk, playing Ramones chords backwards and letting the bank office’s fire alarm go off with their wall of noise. When drummer Bie got to hear other hardcore records through a school mate, he was baffled to hear there were other folks out there doing what they were doing as well. After a fire alarm and family drama too many, the trio moved to a tiny shed in the garden of the Verbeeck family to refine their special blend of primal hardcore. The rest is history! For just 5 years they became one of Belgium’s most active HC bands, befriending many other classic main stays such as The Dirty Scums, Moral Demolition, Vortex, Wulpse Varkens etc., creating pits everywhere, and turning many a nazi skin’s skulls into pulp! When guitarist Toon “forgot” to fulfil his army service, he had to flee Belgium, and as the police harassed the other band members constantly about this, it became next to impossible to maintain Zyklome A. Zyklome A morphed into Ear Damage, with different members. In a later, army free future, a reunion of Zyklome A was not possible due to Toon’s heroin problem. It is strange, and sad to say, that the cards played differently when Toon passed away. Zyklome A played 2 reunion gigs in 2016 with guitarist Pieter Coolen (of Toxic Shock fame) before Markus’ severe back pain sadly also led to his passing. This record is dedicated to Toon and Markus, whose spirits live on through their incredible music. You will find the entire first album plus an extra LP with their part of the split single Moral Demolition, their tracks of the ‘Alle 24 Goed’ compilation LP, their tracks of the ’Second Time Around’ compilation cassette, an unreleased track and a live recording at the height of their game from 1984 in Deventer (which includes covers such as ’These Boots Are Made For Walking’ and ‘Rock ’n Roll Rebel’) and a 76 page book filled with tons of archive material such as flyers, lyrics, drawings, pictures and a lengthy interview with Bie Puttemans on this most possibly last Ultra Eczema release, Zyklome A’s ‘Uitgesproken (1980-1985)’.

As the BBE Music J Jazz Masterclass Series hits its 19th title, the milestone is suitably matched by a collaboration between two giants of jazz brought together to deliver an exceptional album, working with a band of the very best Japanese jazz musicians. ‘Reminicent Suite’ by American pianist Mal Waldron and Japanese trumpeter Terumasa Hino was originally released in 1973 on the famed Victor label and was one of several Japan-only albums recorded and released by Waldron over a thirty-year period, most of which have never been available outside Japan. ‘Reminicent Suite’ comprises two extended tracks, both taking up a side each. The title track on Side A is composed by Waldron, and is a dark, brooding heavy groove typical of his early 70s sound. ‘Black Forest’ on side B is written by Hino and is a vivid and energetic piece, layered and textured with dense percussion and Hino’s signature trumpet tone. Mal Waldron started out in the early 1950s working extensively on the Prestige label with notable figures such as Gene Ammons, Jackie McLean and Charles Mingus. Most famously, he worked with Billie Holiday before leaving the States in the mid-60s and relocating to Europe where he established himself as a major figure working across many countries including France, Italy, and Germany, where he made his home in Munich. In 1969, Waldron recorded the first releases for two major European jazz labels, ECM and Enja, before visiting Japan on tour for the first time in 1970. Waldron instantly fell in love with Japan and, over the next three decades, extensively toured and recorded there for numerous labels. Terumasa Hino is one of the towering figures of post-war modern jazz in Japan. Coming to prominence via the Hideto Shiraki and Sadao Watanabe bands in the mid-60s, Hino soon emerged as one of the prime movers in new jazz generation that changed the direction of jazz in Japan. He explored a more open, freer, and improvised sound, mixing psychedelic and rock elements with freeform and post-bop jazz. Hino recorded for many of the leading jazz labels of the era including Columbia, Three Blind Mice, and East Wind and would go on to relocate to the US in the mid-70s, immersing himself with the leading fusion players of the New York scene including Larry Corryell, Mtume, Al Foster, Dave Liebman and many more. In the early 80s, Hino’s jazz funk tracks were dancefloor smashes on the UK jazz dance scene. Joining Waldron and Hino on ‘Reminicient Suite’ is a band made up of the very best Japanese jazzman of their day: Takeo Uematsu on sax, Terumasa’s brother, Motohiko Hino, on drums, and the legendary bass master, Isao Suzuki. Together, they deliver one of the very best albums of the era, a richly articulated and dynamic session that exemplifies the very best that the Japanese jazz scene was doing in the early 1970s. ‘Reminicent Suite’ is pressed on 200g vinyl presented in a gatefold sleeve plus obi strip, with new photos by Tadayuki Naito; translated original sleeve notes; and a 7500-word essay including interview with Terumasa Hino from Tony Higgins, co-curator of the J Jazz Masterclass Series. This is the first time this album has been available outside of Japan

"Nicoles Songwriting und ihr Gesang entwickeln sich von Album zu Album stärker. Sie weiß, wie man rockt, sie kann eine gefühlvolle Ballade vortragen, die Herzen bricht, und sie kann eine Jazz-Line singen, die sie in die Nähe von Nina Simone rückt." -Living BluesDie Grammy-nominierte, 7-fache Blues Music Award-Gewinnerin Danielle Nicole zählt zu den besten Sängerinnen und Bassistinnen der heutigen Roots-Musik. Zu Beginn der Aufnahmen zu "The Love You Bleed" wusste Danielle Nicole, dass dieses neue Album anders sein würde als die bisherigen. Das von Tony Braunagel (Taj Mahal, Eric Burdon, Robert Cray) produzierte und von John Porter (B.B. King, Buddy Guy, Bryan Ferry) abgemischte Album ist voll von Liebe, Verlust, Wille, Entschlossenheit und all den anderen Dingen, die mit der Liebe zusammenhängen. Die Leadsingle "Make Love" handelt davon, den Schmerz bewusst zu überwinden und sich in den schwierigen Momenten des Lebens für Liebe, Familie und Gemeinschaft zu entscheiden. "How Did We Get to Goodbye" mit seinem rohen und ehrlichen Text dokumentiert eine gescheiterte Liebe, in der es weder einen Helden noch den Bösen gibt, und stellt die Frage, wie man in solch eine Situation gelangt, ohne es zu bemerken. Der Track "Love On My Brain" ist eine starke Mischung aus altem R&B und treibendem Blues und mit "Right By Your Side" gibt es eine klassische Soul/R&B-Ballade, in der es darum geht, nie wieder den Fehler zu machen, "the one and only" gehen zu sehen.

MRG223LP is black vinyl in a jacket + printed sleeve + printed insert for full album download. File Under: Alternative. In 2003, everything broke open for Ward with the release of Transfiguration of Vincent. Critically lauded and long beloved, Pitchfork hailed it as an album that “broadcasts timelessness and defies genre constraints,” and Slant placed it on their list of the best albums of the 2000s.

On Transfiguration of Vincent, Ward’s elegant fingerpicking, evocative croon, and heartrending lyricism came into full bloom, casting a spell so powerful that even a song as universal as David Bowie’s “Let’s Dance” felt not only new but irrevocably his.

One of the most cherished albums in the Merge catalog, Transfiguration of Vin- cent is both a great place to begin your love affair with M. Ward and a deep, stunningly realized work that listeners have returned to over and over again for 20 years. Tracklisting: SIDE A. 1 Transfiguration No. 1 2. Vincent O’Brien 3. Sad, Sad Song 4. Undertaker 5. Duet for Guitars No. 3 6. Outta My Head 7. Involuntary. SIDE B. 8. Helicopter 9. Poor Boy, Minor Key 10. Fool Says 11. Get to the Table on Time 12. A Voice at the End of the Line 13. Dead Man 14. Let’s Dance 15. Transfiguration No. 2

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

The concert at Sonic Morgue (Berlin), opened by the song Nerissimo, was part of a series of European dates, culminating in the Berlin gig. A sort of homecoming for the duo that has made the Rome/Berlin axis a membrane continuously crossed by sounds and words in Italian, German and English. The reception given everywhere to songs like Mi Scusi, despite being sung in Italian, continues to excite. A Quiet Life, originally written for the film "A Quiet Life" directed by Claudio Cupellini, has severed some of the connection it had with the film because many now associate it with the final episode of Dark, the highly successful Netflix series. For many years Teho and Blixa have been playing live with Laura Bisceglia on cello and bells, Gabriele Coen on bass clarinet and, for the Berlin concert, the Oriel Quartett string quartet with Anna Eichholz and Kundri Schafer on violin, Robin Hong, viola, Alice Dixon, cello. The album cover image is a mixed media piece by Blixa Bargeld entitled "Aldebaran". Currently, Teho Teardo is busy on a long theatrical tour with famous Italian actor Elio Germano with two live performances of words and music: "Il Sogno di una cosa", freely inspired by Pier Paolo Pasolini"s novel of the same name, and "Il Paradiso di Dante", an original performance of acting, music and multimedia installations inspired by the XXXIII canto of the "Divine Comedy".

DJ Tiddles' Acid Techno/Techno label returns with a second release of explosive female/non-binary fronted tracks from Tiddles herself - teaming up with Polish Acid Techno hero Ciuciek - plus Ireland's new female Acid icon Bubbless - 2 trax including the catchy reggae techno crossover 'Rudie' - and last but not least Jungle-tek legend Mandidextrous turning in something very different to their usual fare with the rip-roaring bouncy techno classic 'Oi Oi Oi'... a classic release that is gonna set harder dancefloors alight!!

Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

All true improvisation involves an element of chance: the coming together of a nexus of influences impulses and actions that result in spontaneous creation. Often in the world of jazz these creative sparks blaze briefly in performance, and then disappear as the sonic vibrations fade from the air, but sometimes chance intervenes again, and moments thought to be gone forever can resurface in unexpected ways. As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1991 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances. Reunited together fifteen years after the breakup of their seminal band Lookout Farm in 1976, the two players reaffirmed their deep musical bond with a set of free-flowing exploratory dialogues in front of a receptive audience. Believed lost for many years, these performances can now be experienced again, with all their fearless freshness and pure committed musicianship undimmed by the passage of time.

Jeff Williams has established a formidable reputation as a drummer, composer, educator and bandleader on both sides of the Atlantic. His relationship with Liebman was forged in the exciting, expansive atmosphere of the New York scene in the early 70s: the meeting of Williams, the laid back Midwesterner, and Liebman, the mercurial, quintessential New Yorker, was an inspired coming together of opposites that always made the creative sparks fly. Williams remembers the journey that led to the Bar Room 432 on that 1991 evening:

“Just as I was leaving my home town of Oberlin, Ohio to move to New York City in 1971, I was given David Liebman’s phone number by someone who told me that Dave had started an organisation for jazz musicians there. I knew of Dave, from Ten Wheel Drive and John McLaughin’s My Goals Beyond, but I couldn’t have imagined what a significant role he would play in my musical life. Shortly afterwards, Dave would leave Elvin Jones and Miles Davis to start his own band, with Richie Beirach, Frank Tusa, and myself, (later adding Badal Roy), naming it Lookout Farm. We released two albums on ECM and one on A&M to wide critical acclaim, and toured across Europe, Japan, India and the US.”

“Following the dissolution of Lookout Farm, Dave and I embarked on a short duo tour opening for Gary Burton. That would be the last time the two of us would play until the occasion of this recording, fifteen years later.”

“Fast forward to 1991 when I discovered an attractive bar located on the far West Side of 14th Street in Manhattan. Bar Room 432 would become a six night a week jazz club for a few years, providing me, and many others, with the opportunity to perform our music. Catching wind of this, Dave suggested we do a duo performance there.”

“Luckily, I recorded it.There was no preparation, no set music to be played - we simply improvised, picking up where we’d left off. David’s mastery of the soprano saxophone is in full bloom here, as well as his incredibly resourceful musical mind.”

The performances are revelatory, moving in pure improvisation from clear, songlike melody to furious density, from ambience to pulsing groove, from light into darkness and back again. Cleaned up and remastered by Alex Bonney, the sound of the tape captures the warm, wood-lined ambience of the room, allowing the full power and dynamics of William’s drums and the warmth and fullness of Liebmans’ soprano sax to sing out, engaging the contemporary listener just as it engaged the hip Manhattan crowd thirty three years ago.

Es zirkulieren wenige LPs, die über die gesamte Albumlänge die Schönheit und Wärme des "Balearic Sound" widerspiegeln. Man kann das auch dem Genre "Cosmic" zuordnen. Arno E Mathieu aus Südfrankreich schafft auf "Contemplation" das einzigartige flimmernde Licht des "Mediterranen" einzufangen, und in einem modernen Sound die Stimmungen der Natur des Mittemeerraumes rüber zu bringen. Die Songtitel und das Cover Image ergänzen das abgerundete Stimmungsbild. Es kommt nicht von Ungefähr, dass DJ Harvey großer Fan von Arno E Mathieu ist und viele seiner Tunes spielt. Wer auch in diesen Kosmos passt, ist Joe Claussell, der neben Franck Roger, I:Cube, Beanfield, Julien Jabre, Mark E, Simoncino, Woolfy, DJ Deep, Gigi Testa, Next Evidence, Max Essa jeder für sich einen tollen Remix abliefert. Fast jeder Track des Albums wurde geremixt.

"Flower power psych pop that’ll blow you away! Exploring the jangly folk and garage sounds of the late ‘60s, the Superfine Dandelion picks a wide variety of colorful folk, country and jug band influences and puts a psychedelic tint on their all-original compositions. Our favored stereo mix, pressed on blue vinyl!

Formed in 1967, this Phoenix, AZ band would only last for a year before parting ways, leaving behind just one album – a fate many Mainstream artists ultimately faced, no matter how quality their style and sound was. The Superfine Dandelion features Mike McFadden (formerly of the garage rockin’ Mile Ends) and Rick Anderson (founding member of the Tubes) showcasing the sound of the Summer of Love – kaleidoscopic, sunny & groovy!

“While the cheeriest cuts have the sunny folk-pop/rock feel of, say, some of the L.A. folk-rock issued by the Dunhill label (‘Don't Try to Call Me’ recalls P.F. Sloan) or the Monkees, their self-titled LP had a good deal of sub-Jefferson Airplane folk-psych-rock, with plenty of minor chords, harmonies, and wistful lyrics. Then ‘Janie's Tomb’ and ‘It's Raining’ have a jokey jug band vibe, like a cross between the Charlatans and the Lovin' Spoonful.” – Richie Unterberger (AllMusic)"

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Punk Rock Isn't Dead... It Lives in South America! Das schreiben sich Los Problemas selbst auf die Fahne! Die chilenische Punk-Rock- und Oi!-Band "Los Problemas" hat ihr mit Spannung erwartetes Debütalbum herausgebracht. Die LP mit dem Titel "El Ultimo de su Especie" markiert einen Meilenstein in der Karriere der Band und festigt, was sie über mehrere Jahre hinweg, von der Veröffentlichung von Singles bis hin zu ihrer ersten EP "Malos Vecinos" (2020), gezeigt haben. Es ist ein energiegeladenes Album geworden, das Einflüsse von Punk und Oi! mit deutlichen Anklängen an Bands wie The Crack, Cock Sparrer, Sex Pistols und andere verwandte Gruppen vermischt. Das Album ist sehr melodisch, macht Spaß und ist durchzogen von scharfen Gitarren, die manchmal an den Glam-Rock der 1970er Jahre erinnern, aber mit einer Essenz und Haltung, die eng mit dem Punk verbunden ist, besonders im Bereich des Oi! oder "Reality Punk". Das Album enthält 11 neue Originalsongs und eine kühne Interpretation von David Bowies ikonischem Song "Héroes", in dem die Band ihr erzählerisches Können und ihre einzigartige Herangehensweise an den vergangenen Ruhm unter Beweis stellt. 180 gr. schwarz/grün marmoriert, weltweit 500 handnumerierte Exemplare. SPA "El Ultimo de su Especie" es un álbum enérgico, que fusiona influencias del punk y el Oi!, con claras resonancias de bandas como The Crack, Cock Sparrer, Sex Pistols y otros grupos afines. Este disco es altamente melódico, fácil de escuchar y está impregnado de guitarras afiladas que en momentos nos recuerdan al glam rock de los años 70, pero con una esencia y actitud ligada al punk y especialmente a la rama del Oi! o "reality punk."

Frank Carter & The Rattlesnakes kehren mit ihrem fünften Studioalbum "Dark Rainbow" zurück
Die Rattlesnakes haben sich einen Namen gemacht für rasante Hymnen, die sowohl dem grüblerischen Wüstenrock als auch dem Hardcore und
Power-Pop zu verdanken sind. Sie definieren den Punk-Rock neu, mit einem Sound, der Epochen und Genres überspannt und The Rattlesnakes in eine
ganz eigene Kategorie katapultiert, während sie gleichzeitig müde Klischees herausfordern und die Welt zurechtrücken.

tapetopia 004 The Leipzig band Neu Rot represented a singular phenomenon within the alternative music reservoir of the GDR. As with so many bands that cultivated a more sophisticated sound in the late 80s, Neu Rot’s beginnings had been in punk rock. But, with a remarkable rigour against itself, the band steadily worked its way towards post-rock. This thorough process came to fruition in 1988 with the production of the tape “Halt An”. It had been preceded by the band’s struggle for its very own means and their technical feasibility. Neu Rot’s pilgrimage to its own centre was not unimpeded. The band’s name was perceived by the GDR’s cultural watchdogs as an erratic chain of associations between the suspicious word “Neu” and the ideological signal colour red. The band was legal, but its lyrics were deemed illegal. The edition of “Halt An” was somewhere between over fifty and under one hundred copies. Jörg Stein (voc, g, casio sk-1, yamaha ps-2) Karsten Maaß (bg, voc) Anke Mehlhorn (vl, casio sk-1) Henrik Eiler (dr, voc, casio sk-1) Produced by Mike Stolle & Jörg Stein Lyrics by Jörg Stein, except „Sometimes“ and for „Die Schlange“ by Christoph Wielepp Tape artwork by Daniel Schörnig Tape cover photos by Daniel Schörnig Published by Henryk Gericke Liner notes by Henryk Gericke Remastered by Black Flag Mastering/ Friedemann Kootz © Music by Neu Rot except „Sometimes“ (traditional) recorded Oktober 1988, Leipzig Thanks to: Mike Stolle, Adrian Neumann, Nikolaus Michael, Horst Pfaff, Andreas Berger, Christoph Wielepp, Daniel Schörnig and to the unknown roommate Lachmund Christian Andersen, Michael Barthel, Sarah Baumann, Ralph Gabriel, Ronald Galenza, Jakob Geisler, Ulrike Geisler, Gerd Gericke, Elke Grabinski, Gabriele Herzog, Egmont Hesse, Sabine Jansen, Siegfried Männer, Bettina Matten-Gericke, Christian Morin, Frank Siewert, Philipp Strobel, Christoph Tannert, Stefan Widdess, Margarete Wohlan In memory of Michael Pfaff.