Suche:man

Repress!

The latest mash up from Amerigo Gazaway is a scorcher! You loved 'Fela Soul' and 'Bizarre Tribe', now 'Yasiin Gaye': 13 tracks that perfectly blend Mos Def and Marvin Gaye. feat. Teddy Pendergrass, Talib Kweli, Kanye West, Tami Tarrell and Black Astronauts. Full picture sleeve, double vinyl. Coming next week!

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

Third studio album from leading French reggae band Ryon, featuring Na man and Tiken Jah Fakoly brass section. Since 2015, the band has been on the road playing festivals and club shows across Europe, sharing its poetic and committed inspirations.
Driven by Cam’s charisma and powerful voice, the quintet gives life to a highly positive and powerful music, between reggae, rock, french variety and even pop music. Inspired by the solar reggae music of Clinton Fearon or Steel Pulse, the band draws its inspiration from modern reggae too. In 2018, they released their second album, Z phyr, which was awarded best French Reggae Album by the renowned “Victoires du Reggae” committee.
Ryon is now back with their third studio album ‘Esperanza’, with the famous French singer N aman and Tiken Jah Fakoly’s powerful brass section as special guests. With this record, the band will spread its sunny and positive vibes as long as possible!

Repress!

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces). Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album.

Noema’s new album is a surreal cosmic journey. The music on it is part of a comprehensive art piece that includes remixes, interactive choreography and stage design, theatre, and costumes called ONE.

In ONE, Noema tells the story of his interdimensional space explorations, in which he manifests as four different entities. Because of the energetic state of humanity, these entities became trapped in our dimension and now put on performances to re-power their portal, so that we can all be interdimensional again! During the performance five actors invite up to 120 people from the audience to join the action.

Sun Ra meets Steve Reich meets Larry Levan - imagine it as a “happening” from the 70s.

The music from ONE is loosely based on the minimal music classic “In C" by Terry Riley. It consists of 56 melodic patterns, which are repeated and consecutively played from the first to the last. Every player can move on to the next pattern at their own pace.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

After releasing his seventh - arguably best and most popular album - The Odd Shower, The Bitter Springs' singer / songwriter Simon Rivers reinvented himself as Poor Performer, whose own debut, Like Yer Wounds Too, followed the same winning formula, widened somewhat by the inclusion of songs with a greater fragile beauty and introspection . . . though rarely without a degree of self-effacing humour and a rather stylish wit. Decades of self-releasing compact disc-only albums from the far southwestern suburbs of London, with scant regard for promotion or the normal machinations of showbiz - touring, for instance - did little to spread the word about Rivers' unique and prestigious talents. A conversational singer with a delightfully warm and convivial stone, Rivers' sense of the absurd and willingness to portray aspects of life generally unrecognised by pop music, one supposes it's not entirely unfair to have expect Top of The Pops to come calling. Yet the relative absence of cult of Simon Rivers fans is somewhat perplexing, for his lyrics, ideas and tunes all do merit it. There's little affectation in the sense of stage persona, but heaps of personality and intriguing, occasional perverse idea. It's hard to listen to anything he's down without a degree of sheer enjoyment. It's real, without affectation. The very real bumps heads with the slightly mental, just like in life! So what does this new guise - Oldfield Youth Club - have to offer? It's partially a revival of Rivers' first 'real' band, Last Party, and it displays hallmarks of that band's youthful energy. There's a bit of teen glam in Good News I'm Afraid and (Theme From Oldfield Youth Club, even while lead track We're The OYC and When Bob Grant Ruled The World add a dollop of an energetic ruefulness to the mix. A Kind Of Loving In A Loveless Town is an immediate classic, a song one could hear dozens of times before really reaching the core of its magic and majesty. Lest this sound like the work of a solo artist, it does feel like a band - a rather clever one, in fact. Including members Kim Rivers and Neil Palmer (both from Last Party), as well as trumpeter / vocalist Alison Targett, Oldfield Youth Club is a band with an obvious musical kinship. There's a connection to the literal style of Vic Godard's Subway Sect (and members have been shared between both acts) or early Go-Betweens . . . there's an alchemical sensibility shared by all three acts wherein their words and tunes inform each other in a deceptively casual but arresting manner. It's hard not to love, a rare work that earns immediate affection and just grows better from there.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering

The fragility and balancing act of creativity is an immeasurable factor in the life of any artist, serving as a commanding force in the choices they make over their careers. If the connection and meaning in creativity becomes devoid, there's a transformation process that either channels an ascension or departure. An internal and external battle that can chase and haunt individuals in every part of their life if one falls into the latter position. In the case of Los Angeles based electronic producer Huxley Anne, ascension was achieved during one of these tests of creative endurance and preservation, entering a phase of her life where the process of feeling art on meaningful levels had subsided for a lengthy period and the eventual reprisal of these natural gifts returned. This led to the creation of her debut album and an expansion in creativity that marks an important beginning for her path as an artist. This work is known as Ilium, representing a moment in Huxley Anne's life that's been one of her most testing yet rewarding mountains to climb. Ilium is Huxley Anne's debut album with Los Angeles indie imprint and Alpha Pup Records affiliate, Dome of Doom. Sonically, Ilium is an orchestrated field of unique beauty, drawing together eight tracks of exotic electronic music that calls upon the darkest and most light-driven of emotions. Exploratory textures take on vortexes of shape through cinematic sound designs, fluidly traversing between amorphous undertones, intricate composition mapping and pulsing rhythms. From the submersion of euphoria to the illumination of power, Ilium draws upon as many influences in the realm of mystical antiquity as it does the landscape of experimental music leading us into the future. A sonic portrait of her ascension through creative turmoil, the struggle of sustained determination and a rebirth into timeless artistry. Huxley Anne has created a boldness in sound that was made with the most vulnerable and giving of sides and simply put, Ilium is the continuation of meaningful life

Eels präsentiert Vol. 2 von EELS So Good – eine Best of/Essential-Compilation mit 20 Titeln aus den Jahren 2007–2020. Fünf Songs geben hier ihr Vinyl-Debüt, von denen drei bisher unveröffentlicht waren, darunter „Christmas, Why You Gotta Do Me Like This“. Mark Oliver Everett fügt hinzu: “Everyone should have at least three Christmas songs in their catalogue. I’m sorry it took me so long.”

Diamonds & Freaks is the second studio album from producer/artist/visionary, BLK ODYSSY. Following up the critically acclaimed debut album, BLK VINTAGE, Diamonds & Freaks is a concept album that tells the story of a man enslaved by his lustful addictions. The record is presented as an erotic novel by Keisha Plum with narration by Bootsy Collins, both of whom offer a stark contradiction to the vivid and edgy content of the songs. The record contains elements of soul, hip-hop, and pop—seamlessly blended to create a fresh and distinct sound true to BLK ODYSSY. Diamonds & Freaks showcases BLK ODYSSY’S talent for crafting colorful characters and vivid scenes to tell stories through music. The 15 track masterpiece features appearances by Cory Henry, Bootsy Collins, KIRBY, Rapsody, Eimaral Sol, Grace Sorensen, STOUT, & The Alchemist. Pressed on Amber vinyl, housed in a Diecut Gatefold Jacket and includes a 32pg Booklet, 2 Double-sided 12x12 Inserts, Postcard, Marketing Sticker & Black Polylined Sleeves.

Brausepöter (Martin Lück: Gesang, Gitarre, Synthi und Bernd Hanhardt: Bass, Kemper: Drums, bestehen bis heute in dieser Besetzung!) gründeten sich 1978 in Ostwestfalen und hießen ursprünglich Nordwestdeutsches Eiterlager, kurz NWE. Genialer Name, aber Brausepöter ist auch nicht schlecht! Sie sind somit eine der ersten deutschen Punkbands und zwar Punk im eigentlichen Sinne oder wie es im US-Amerikanischen Fanzine Maximum Rocknroll hieß: "It"s indie punk in the purest John Peel sense" bzw. wie es Martin Lück ausdrückte "Wir wollten immer den ganzen Rock aus unserer Musik rausnehmen". 2019 veröffentlichten Brausepöter ihr letztes reguläres Album "Nerven geschädigt". Das Punk- Zine FAZ überschrieb ihre Rezension mit "Die neue Brausepöter-Platte zeigt, was Punk heute heißt". Für sie ist Brausepöter "eine deutsche Band, die leider zu gut war, um so berühmt zu werden wie Trio oder Die Toten Hosen. Auch Spiegel Online fand "Nerven geschädigt" gut: "In ihrem radikalen Desinteresse an allem, was gerade so geht und erfolgversprechend wäre, wirkt die Musik von Brausepöter heute sogar um einiges konsequenter als damals." Nun erscheint das verlorene 1979er Album "Keiner kann uns ab" Ursprünglich sollte die Platte, "79 mit einem Kassettenrecorder aufgenommen, bei ZickZack erscheinen, aber daraus wurde nichts. Ging das Tape auf dem Postweg verloren? Waren die Aufnahmen zu gut? Oder selbst für ZickZack zu radikal? Wir wissen es nicht. Wäre "Keiner kann uns ab" damals tatsächlich erschienen, wer weiß, vielleicht würde man das Album heute in einem Atemzug mit "Monarchie und Alltag", "Amok Koma" oder dem Debüt von Slime nennen. Vielleicht aber auch nicht, denn der Brausepöter-Sound ist zu eigen, zu baufällig, zu DIY - näher an den TVPs, näher an The Fall oder näher an den frühen Mekons als an den ganzen Punk Rock-Bands. Brausepöter sind eben "indie punk in the purest John Peel sense".

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

The second crushing, soul mangling, neck bustin' album from Texas hardcore thrashers: Power Trip. Quite possibly the best thrash album you will have heard in the last decade. IMMENSE, MAMMOTH, MASSIVE.

Recorded by Arthur Rizik (Inquisition) , mastered by Joel Grind (Poison Idea, Toxic Holocaust) and features cover art by Paolo Girard. 
POWER TRIP is a real band like no other. Their raw energy, musical proficiency, perfect song structure, rich tones, fierce riffs, persecution, and collective attitude have seeded them as one of the most prolific underground staples in the US metal, punk, and hardcore scenes. POWER TRIP has relentlessly toured the world for years with the likes of Anthrax, Lamb Of God, Cro-Mags, Negative Approach, Turnstile, Backtrack, Eyehategod, Bane, Off!, and more, and has performed with countless others, in addition to pummeling audiences at major festivals all over the US, Europe, and beyond. The band will be touring endlessly in support of this new album!

2023 Reissue

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

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

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

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

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

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

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

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

Trop-pop duo Summer Salt — singer/guitarist Matthew Terry and drummer Eugene Chung — spent many years building towards their latest album, Sequoia Moon (2021), ever since jettisoning their Dallas, Texas, hometown for the arts-and-culture oasis of Austin. The band quickly rose through the ranks of the local Austin scene with their 2014 debut Driving To Hawaii, teeming with both the escapism and recklessness of youth and the composure and charm of '60s-era pop, doo wop and bossa nova.
2018's Happy Camper, 2019's Honeyweed and 2020's Avenue G further cemented the band's place as one of the indie brightest stars. Summer Salt soared past 1 million monthly Spotify listeners and toured the world, all as Live Nation's Ones To Watch and American Songwriter hailed them for their breezy, synesthetic soundscapes.

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

Felipe Gordon is a Colombian producer based in Bogota. He’s one of the most famous faces of latin american underground house music. He built a track record of pure house productions from the mid-2010s up until now, being Laurent Garnier-supported and releasing records with the most notorious house labels around the globe (Royal Oak, Razor-N-Tape, Toy Tonics, Local Talk, Shall Not Fade, etc.) His unique sonic touch, intertwining elements of raw analogue sounds from his synth collection and a strong hip-hop sampling background are allowing him to explore and revisit his influences to craft a solid musical signature.

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

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

DJ Rashad's 'Double Cup': Das bahnbrechende Debütalbum des Footwork-Pioniers

'Double Cup' ist das Debütstudioalbum des verstorbenen Footwork-Pioniers DJ Rashad, mit bürgerlichem Namen Rashad Harden, aus Chicago. Er verstarb kurz nach der Veröffentlichung dieses wegweisenden Albums. Als Gründer der Teklife-Crew war Rashad ein abenteuerlicher Geist und einer der furchtlosesten Innovatoren des Footwork-Genres. Er entwickelte sich von einer lokalen Größe in Chicago zu einer weltweit anerkannten Rhythmusreferenz für Produzenten.

Im Jahr 2013 über Hyperdub veröffentlicht, markierte 'Double Cup' einen Meilenstein für Footwork und wurde von Kritikern aus der Tanz- und Popmusik gleichermaßen gefeiert. Es vereint Elemente aus Jungle, Trap und House und ist gespickt mit zahlreichen Kollaborationen, da Rashad darauf bestand, dass "Footwork eine Familiensache ist".

'Double Cup' verzeichnet bis heute 14.000 Albumverkäufe in den USA und beeindruckende 6 Millionen Streams. Dieses Album ist nicht nur ein wichtiger Teil der Footwork-Geschichte, sondern auch ein beeindruckendes Werk eines Künstlers, der das Genre maßgeblich geprägt hat."

Seven years after Shin Godzilla, the worst "despair" in history strikes.

Director Takashi Yamazaki's 70th anniversary film.



Since its first appearance in 1954, the monster "Godzilla" has fascinated and shocked not only Japan but the world. Godzilla-1.0" (Godzilla minus one)

marks the 70th anniversary of Godzilla, the 30th live-action Godzilla produced in Japan, and the first Godzilla produced in "2025". The film is directed, written,

and VFX directed by Takashi Yamazaki, who professes to be a Godzilla fan himself. Ryunosuke Kamiki plays the lead role. The heroine is played by Minami Hamabe.

The film also features a cast of talented actors, including Hiroki Yamada, Takataka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki,

all of whom are ready to take on Godzilla. The music is composed by Naoki Sato, who has composed music for many of Yamazaki's films, including "Always: Sunset on Third Street,"

"Destiny: The Kamakura Story," and "Archimedes' War. The overwhelmingly powerful visuals and music will send viewers into a whirlpool of excitement.

Nerve Collect goes global with its new and futuristic Machine Learning EP - a thrilling blend of worldly rhythms and twisted electronics from New York based Brazilian-American producer Doctor Jeep aka Andre Lira.

Lira is a producer who is able to weave together threads from many different genres into his own new forms. His forward-thinking sounds draw on everything from drum & bass to techno, dancehall to electro, always with an unwavering focus on the dance floor. So far they have come on the eclectic likes of Medellin's TraTraTrax, Berlin’s SPE:C, and his own label DRX (amongst others).

The 6 tracks on this EP showcase Jeep's variety, from the distorted kicks and zippy synths of 'Machine Learning' and 'Mad T', to more straight forward 4x4 techno/tech-house crossovers of 'Shake The Club' and 'Largatixa, to futuristic grime mutations in 'Phase Morph' and ravey dancehall of 'Oil Drum' featuring Montreal-based SIM.

This is another fresh and unpredictable EP from Nerve Collect, although its impact on the club is very predictable: pure carnage.

Das letzte Werk von Kevin Coyne, eingespielt zwischen April und Oktober 2004 im MUSICATION Studio Nürnberg. Leider verstarb der Künstler, der nie ein Star sein wollte, im Dezember 2004 und konnte die Veröffentlichung seines Werkes nicht mehr miterleben. Begleitet wurde er bei der Aufnahme von Andreas Blüml und Michael Lipton (Akustik- und E-Gitarre), Harry Hirschmann (Bass) und letztendlich Werner Steinhauser am Schlagzeug, der maßgeblich an der Produktion beteiligt war. Dass dieses Album das letzte von über 50 Vorgängern sein sollte, konnte zu dem Zeitpunkt niemand ahnen. Umso mehr verdiente es den Preis der Deutschen Schallplattenkritik, der ihm posthum 2006 verliehen wurde. Nach zahllosen Tourneen und Auftritten, vornehmlich in seiner Wahlheimat Deutschland, wohin es ihn in den Achtzigern verschlagen hatte, hinterlässt er eine treue Fangemeinde, die den rebellischen, manchmal kauzigen, aber immer authentischen Musiker, Lyriker, Maler und Buchautor aus UK, niemals vergessen wird. Aus einem seiner letzten Interviews vor seinem Tod: "Lieder zu schreiben ist ein bisschen eine technische Übung, vor allem aber eine Form der Selbsttherapie. Auch wenn ich nicht in die Liga der Stars vordringen wollte, so war es mir doch wichtig, mir einen Namen zu machen."

Limited edition. Printed wicked sleeve and green marbled vinyl color !

C Powers (Cecilia Powers) promotes the power of community organizing in many facets of her life. She’s an interstellar producer and DJ as well as an active tenants’ rights activist in Portland, Oregon. Intersectionality is at the core of Cecilia’s perspective as a trans woman and is reflected in her organizing practices and her musical activities. Whether planning actions against unethical landlords with tenants & regularly hosting solidarity benefit parties in Portland, or fostering safe dancing spaces with her queer family when she lived in Savannah GA, Cecilia has found ways to expand upon the notion of a “community in motion”. She has released on Sorry Records, Sweat Equity, CGI Records, Proper Trax, and Niche N Bump to name a few.

This EP is four cuts of C Powers’ signature touch applied to a hybrid blend of electro, breaks, and bass. There’s high-octane energy as well as a power in the spaces between. These four tracks balance “maximum” and “minimum” and will slap the fascism right out of any environment they’re dropped in.

In the summer of 2015, Mac DeMarco released Some Other Ones— a collection of original instrumental recordings DeMarco deemed his “BBQ soundtrack” — as a free digital download exclusively on Bandcamp. It was recorded in just 5 days at his home in Far Rockaway, Queens, about a year after the massive success of his third album, Salad Days, and just weeks before the release of mini-LP Another One. Originally released in conjunction with a barbecue DeMarco hosted to promote Another One and collect food bank donations, Some Other Ones soon gained cult status, now regarded amongst his fans as a key entry in his beloved catalog. Now, almost 10 years later, and following the success of his recent full-length instrumental album Five Easy Hot Dogs, Some Other Ones is finally getting the full release treatment. The album will be available digitally across all streaming platforms for the first time starting November 8th, and on limited edition yellow vinyl starting December 15th. The real heads get down to Some Other Ones!

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

Nach über 10 Jahren Funkstille und 40 Jahren Bandgeschichte veröffentlicht die Schweizer Hardrock-Band Rash Panzer im Dezember ihr neues Album “Liberation” auf CD und Vinyl! Gegründet wurde die Band 1979 im schweizerischen Genf und serviert ihren Fans seitdem harte, kraftvolle und handgemachte Rockmusik voll auf die Zwölf.

Nach ihrer Single „Heavy Leaders“ im Jahr 1984 veröffentlichten Rash Panzer 1988 ihre erste EP, „Rock ‚n Roll Street“, die von Dennis Weinreich (Jeff Beck, Procol Harum etc.) produziert wurde. Im folgenden Jahr betourten sie exzessiv die US-amerikanische Ostküste und schafften daraufhin sogar den Sprung in die US-Charts. Zurück in Europa nahmen sie das Album „Rated X“ auf, dieses Mal produziert von Rudy Lenners (Scorpions). Es folgte mit „Wild, Raw and Live“ noch ein Livealbum, ehe es langsam ruhiger um die Band wurde. 2013 dann das umjubelte Rash Panzer Comeback mit dem Album „Back on the Rocks“.

Allerdings dauerte es wieder 10 Jahre bis zu einem erneuten Lebenszeichen –doch hier sind Rash Panzer im Jahr 2023: Lauter, härter und motivierter als jemals zuvor! Das Album „Liberation“ ist ein fettes Ausrufezeichen dafür, dass man für guten Hardrock niemals zu alt ist, egal ob als Musiker oder Fan!

Weißes Vinyl, limitiert auf 500 Exemplare. Die Folk-Punk Band The Porters meldet sich mit ihrem vierten Studioalbum zurück. "To The Good Times And The Bad" wird gleichzeitig nach 24 Jahren ihr Abschied von der Bühne sein. Fans der fünfköpfigen Düsseldorfer Combo dürfen sich dennoch freuen: Das Doppelalbum bringt einige musikalische Überraschungen mit, auch das Arrangement ist insgesamt breiter und tiefer. Umgesetzt sind die Songs in vertrauter Porters-Manier: Verzerrte Gitarren, treibender Bass und Drums, gepaart mit verspielten Melodien von Piano und Violine. Der warme, raue Gesang von Volker rundet das Werk ab

Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.

And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."

Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.

That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.

A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.

It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.

Indie darlings Peaness are aiming high once again with charming, harmony-driven pop perfection in the form of two original Christmas classics this festive season. Both songs “Kiss Me Sweet Pea” and “Sad Season” will be released on their own label Totally Snick Records.

Lead single “Kiss Me Sweet Pea” is an unapologetic pop-produced single embracing many of the Christmas cliches - including sleigh bells, a key change, and a nod to the classic Noddy Holder scream. B side and second single “Sad Season” follows a more sombre style with its stripped-back jazz standard approach to production and songwriting, which gives a more intimate piece of work from what we’ve come to expect from Peaness, with front person Jess Branney featuring alongside a piano and a string arrangement.

Renauds schönste Lieder in bisher unveröffentlichten Versionen von den Streichern eines doppelten weiblichen Streichquartetts. Ein Album, das uns die melodische Kraft seiner seiner größten Hits neu entdecken lässt.

In kraftvollen, zeitgenössischen Arrangements, die eine intensive und bewegende Interpretation der schönsten Lieder des ikonischen Künstlers darstellen, entfaltet sich die volle Pracht seiner Kunst.

Kohei Tanaka worked on the composition and arrangement of this album.

One Piece is a Japanese manga written and illustrated by Eiichiro Oda. The story follows Monkey D. Luffy, a young boy whose body became elastic after eating a Devil Fruit. Luffy decides to become the Pirate King and find the One Piece, a legendary treasure hidden on Raftel Island.

Taking the 2nd half of 2022 to start setting this album up, BILL released singles like "Once Upon A Time In Canarsie", "Leviathan", "Smarten Up", "Root For The Villain", and "Time To Go". The album boasts features from the likes of Vinnie Paz, Kool G Rap, Rittz, Immortal Technique, Nems, Sick Jacken, Slaine, Lord Goat, Tragedy Khadafi, OT The Real, Q-Unique and more.

„Christmas With You“ haben Norah Jones und Shooting-Star Laufey ihre gemeinsame Weihnachtssingle genannt. Auf zwei Duetten kombinieren sie ihre unverwechselbaren Stimmen, bei einer charmanten Version des Evergreens „Have Yourself A Merry Little Christmas“ und einem verspielten neuen Original. Norah Jones muss man niemandem mehr vorstellen.

Laufeys aktuelles Album „Bewitched“ brach den Rekord als erfolgreichstes Spotify-Jazz-Albumdebüt aller Zeiten, es stieg auf Platz 2 der globalen und US-Albumcharts von Spotify ein, sowie auf Platz 23 der Billboard 200 und Platz 1 der Traditional Jazz Albumcharts. Bis heute hat sie über 1 Milliarde Streams auf allen Plattformen erzielt

La Califfa" (1970) is a rare example, probably very rare, in which the director and author of the book on which the film is inspired coincide, we're talking about Antonio Bevilacqua, who won the Nastro D'Argento prize as Best New Director with this film.

The film deals with the issue of the class struggle, and in particular the love-hate relationship between a businessman (Ugo Tognazzi) and a female worker (Romy Schneider, almost too sensual here) who lost her fiancé at the working place. A romantic and dramatic work, as the music written and orchestrated by Ennio Morricone, here often surrounded by an impressive aura of sacredness. This LP also features, as guests on voices and choirs, Edda Dell'Orso and I Cantori Moderni di Alessandro Alessandroni. Surprisingly, despite the success of the film and its soundtrack received at the time, "La Califfa" has never been reissued on LP since the early '70s.

This new edition on Vinyl Magic record label eventually fills this gap and, except for the front cover image, the artwork has been completely renewed: the inner sleeve contains in fact many reproductions of posters and lobby cards of the film. Various tracks, never released on LP until today, have also been added to the final tracklist.

Limited edition on 180gr. pink vinyl.

After his participation in a masterpiece such as Popol Vuh’s Hosianna Mantra, in the early 1980s Klaus Wiese produced a series of seminal works in the field of ambient-drone and healing music. The first of these, Baraka, was released on tape by Acquamarin in 1981, and already contained all the aspects of his future research into the mysticism of sound. Wiese shares the path with other German explorers such as Hamel, Fricke, Micus or Deuter, but he focuses his attention on the most essential nature of sounds, on their acoustic purity, which is always infinite spiral, vortex of frequencies and cosmic bath. It takes only a few means (zither, tampoura, cybals, singing bowls) to reach the absolute through vibration. Like the archaic mood of a great universal harmony, the sound suggests a complete state of otherworldly meditation, an enveloping cloud of peace in the eternity of the present. The musician is only the one who distributes and directs the thickenings of ethereal matter, microtonal agglomerates, cascades of celestial harmonics and emotional floods, petals and stems of devotion.

For the better part of the last 15 years, the duo of Max Dameron (guit/vox) and Sam Ford (drums/vox) have been too weird and too wild for this lame-ass planet. After enjoying vagabond stints living in Portland, Los Angeles, and Brooklyn, they now call Detroit home. Here they rebuild, out of the scraps and wreckage of the 21st century, something which casts aside any rules or adherence to banal tropes. Specializing in the unexpected, Max and Sam have wrought an individual sound that’s as much post-Melvins sludge punk as it is futurist prog metal. Their forthcoming self-titled debut, recorded in 2022 at High-Bias in Detroit, puts on display the fruits of their metamorphosis. From the soaring triumphal fuzz of “Uncanny Valley” or the sweep and thrust of “House of Butterflies” their craft is precise, they’re just making up their own shapes to sculpt. Times change and artists mature: now under the name PSYCHIC TRASH, Ford and Dameron come to Riding Easy Records as veterans turning a fresh page, reinvigorated at the prospect of forging a new path and the beneficiaries of about a decade and a half’s slog through the underground. Psychic Trash’s self-titled debut is unmistakably uncompromising, a little theatrical, intermittently manic, and deceptively broad in style for just how much punk rests beneath.

Mojave Phone Booth – Hollow The Numbers. A psychedelic industrial/electronic art-rock concept album. This Deluxe 2 disc edition features extensive remixes made by the band.
Recorded in the home studio of husband and wife duo Tobey Torres-Doran and Mitchell J Doran, both formerly of cult electronic act Snake River Conspiracy. They are joined on several songs by their regular drummer Lynn Farmer of Meat Beat Manifesto. Also features guest performance from Flea of the Red Hot Chili Peppers.

Das Saarbrückener Rap-Duo Genetikk, bestehend aus Rapper karuzo und Produzent sikk, steht seit Ende 2011 beim Düsseldorfer Independent-Label Selfmade Records unter Vertrag, das zuvor bereits Künstler wie Casper oder Kollegah zu kommerziell erfolgreichen Szenegrößen geformt hatte und spätestens Anfang 2013 mit dem Nummer 1-Album "Jung, brutal, gutaussehend 2" von Kollegah & Farid Bang mit neu aufgestelltem Verkaufsrekord (80.000 Einheiten in der VÖ-Woche) seine Ausnahmestellung im Rap-Bereich eindrucksvoll verdeutlichen konnte.Die erste gemeinsame Veröffentlichung, Voodoozirkus im Februar 2012, fand sofort großen Anklang und schaffte es direkt in die Top10 der Download-Charts von media control. Ein Charteinstieg in die Albumcharts blieb nur deshalb aus, weil die CD damals lediglich über den Online-Shop von Selfmade Records erstanden werden konnte. Mit ihrem ersten Release und der Single "König der Lügner" (mehr als 5 Millionen Klicks auf YouTube) gelang es Genetikk auf Anhieb, sich eine große Anhängerschaft aufzubauen und ihr enormes Potential erstmals anzudeuten.Stilistisch orientieren sich Genetikk stark an den Wurzeln klassischer Rap-Musik aus Frankreich und den USA, was sich zum einen an karuzos stylischem Rapstil, aber vor allem an der organischen, bis ins letzte Detail perfekt ausproduzierten Beat-Ästhetik von Produzent sikk bemerkbar macht. Genetikk gelingt es, etablierte Genre-Charakteristika mit frischen, modernen Stil-Elementen zu kombinieren, was dem Duo ein gleichermaßen einzigartiges wie unterhaltsames Alleinstellungsmerkmal innerhalb der deutschsprachigen Rapszene verleiht. Es gibt derzeit wohl keinen Rap-Act mit höherem Wiedererkennungswert.D.N.A. - kurz für "Da Neckbreaker Aliens" - ist das erste große Album der beiden Saarländer. Sido, dessen Single "Bilder im Kopf" kürzlich mit Platin ausgezeichnet wurde, ist ebenso mit von der Partie wie Labelpartner Kollegah und die US-Hip-Hop-Legende RZA, seines Zeichens Gründer & Kopf des Wu-Tang-Clans.Das größte deutsche HipHop-Magazin Juice, dessen begehrtes Cover Genetikk jüngst schmückte, ist bereits sicher: Mit D.N.A hat Genetikk einen "modernen Hip-Hop-Klassiker" geschaffen. Ein "Deutschrap-Manifest", das die besten Elemente der nationalen Rap-Historie zusammenführt.

Last year, South Korea’s Extra Noir asked “What links a mall Santa in Singapore with British Prime Minister Rishi Sunak? Scottish bard Robert Burns and Tales from the Crypt? What connects a cry for love in the industrial heart of Seoul with Algernon Blackwood spiking a batch of eggnog?”

The answer, of course, was their Christmas charity compilation, Noël Noir. This holiday season, the label has combined some of the best selections from that release with new contributions for a limited-edition cassette. The year’s hottest stocking stuffer contains wintry atmospherics and seasonal spooks from JD Twitch’s ambient alias Tomorrow The Rain Will Fall Upwards, Salamanda (Human Pitch, Wisdom Teeth), Xander Harris (Rock Action, Not Not Fun), Jaeho Hwang (Chinabot), Heejin Jang (Doom Trip) and more.

Not a lot is known about the mysterious Mayz Road Kartel. They only created this outstanding underground joint in the mid 90's in the concrets of Memphis. For many this is the sound of Memphis in his purest form.

All tracks produced by no other than Blackout and backed by featured rappers Playa Posse. The first time on vinyl for this whole planet served for you by Hole in One.

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111

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

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

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

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

Eclectic graffiti artist, DJ and producer Dj Marrrtin unveils his new album opus "Cyclothymix".
Following the success of his album "La Pie Bavarde", a duet with Tino, mc from Dayton, U.S.A., Marrrtin delivers a moody, intense, indeed psycho-musicographic psychomusicographic. He promises us a finely mixed set, at the heart of his inspirations: Hip Hop, Funk, Sound Illustration, Jazz...
Opening with "Awakening", straight out of a Dilla beat tape, followed by the Brazilian with the very Brazilian "Estrellas", an up-tempo theme sublimated by the gentle voice of Carla Vallet, who also infuses her suave voice on the track "Darjeeling", a bewitching call to let go. In his global wanderings, he takes us to New York with the track "L.O.V.E."an ode to love, featuring the Temple's guardian, A.G. of the mythical collective DITC and his protégée Hii Siddity, from the duo The Girll Codee. "Taraxacum" plunges us into a languorous atmosphere, sublimated by sublimated by the flute of Antoine Laloux from The Selenites Band. Then comes "Ben", a boom bap - melancholy jazz production, where the grain of vinyl mingles with the roughness of the Akai S950 sampler. Marrrtin's musical drifting and whirling is a tribute to breakdance culture to breakdance and hiphop culture with "Inspiration Medley", a nod to anthems such as SWAT, backed by the keyboards of his Funky Bijou teammate, Deheb. A duo whose famous classics are played for the biggest world Breakdance Battles. Sample culture, drum breaks, Abstract Hip Hop, for the tracks "True" and "Time for Love", in which a guru preaches pan-love in the time of the Apocalypse. "Indian Groove", an Indian echo of Marrrtin's many travels, which leaves us and saturates us with dopamine. "Cosmic Consciousness Without Transition", in the spirit of a mood-changing we plunge into the strange, scandalized prescription, guardian of the garden of love.
To close this essential album, "Headhunter", a dark Jazz Funk track with dusty soundtrack tinges, brings us to a close.
of dusty seventies soundtrack, with saturated clavinet responding to obsessive
melodies of Medline's flute.
Ultimately, "Cyclothymix" is conceived by Marrrtin as a mirror to our changing moodsand seasons.

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

Re-release All the greatest Jazz Legends in a 3LP boxset. From Nina Simone to Louis Armstrong, from Miles Davis to Billie Holidai, they are all there!

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

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

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

NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

More than 25 years already, DJ Paul Elstak is the myth, the man, the legend, in the Hardcore scene. This release is the special ‘Hardcore Edition’ version of the very successful ‘May The Forze Be With You’ album, originally released in 1995 and now again available as a limited edition LP on blue vinyl. Including the special ‘Forze hardcore versions’ of “Rainbow In The Sky”, “Luv U More”, “Life Is Like A Dance” and many more hardcore classics.

Mixed tape.

‘A State Of Trance Year Mix 2022’ - The most popular trance tracks of the past year, mixed like no other by Armin van Buuren! The first hour of the amazing Year Mix 2022 now for the first time available on a Music Cassette. The tracks on this mix were chosen by the listeners of Armin van Buuren’s radio show ‘A State Of Trance’ by using a votinglist, put together by the many worldwide listeners. Armin van Buuren selects the best tracks and adds his own favorite trance hits.

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

Hilton Felton's Family & Friends is a rare groove classic that now gets reissued for the first time ever courtesy of P-Vine. The master keyboardist has a cult following thanks to his magically mellow and sophisticated playing style. He was prolific, too, recording several great albums but none as definitive as this one, which is a sought after and pricey gem if you want an original. It has many highlights such as the fantastic jazz-funk cover of the Delfonic's classic 'La, La Means I Love You', groove-laden soul in 'The Power Of Love (It's In My Heart)' and the lively arrangement of 'Family Reunion.'

The tittle release from Kumomi Records(they are based in Japan). Okinawa salsa band 'Kachimba 1551', which fuses Okinawa folk songs and salsa. This current band started its activities in 1998 and they are based in OKINAWA .On the A side is a Okinawa folk song "Asatoya Yunta" which said to have originated on Taketomi Island in the Yaeyama Islands, and has been covered by many musicians around the world (Ryuichi Sakamoto, Haruomi Hosono, Akiko Yano, etc.). On the B side is "Uminu Chinboraa" is said to have been handed down from "Ie Island in Kunigami Gun of Okinawa" and started to be sung at traditional party settings. Both song includes a salsa arrangement cover by "KACHIMBA1551". For this　project we as Kumomi Records have gotten licensed by 3rdwave / PARTIDA RECORDS from Okinawa. We would love to recommend this to the people who like music such as Traditional world music.

“This one might’ve been in us from the start”, says John Hancock. He’s talking about ‘Echos’ - his, Becky Williams, Finn Bjarnson & Ryan Raddon seventh Late Night Alumni longform. Predominantly known for blending electronic and organic elements into their music, the album represents a departure from the band’s largely house-led sound. An all-acoustic affair, in many ways though ‘Echos’ is a natural extension of LNA’s DNA. “Most of our songs”, John continues, “are written in the organic/acoustic realm and then produced with electronic flavours to create our sound. In those intimate song beginnings though, there’s a magic all its own. We’ve long wanted to do an album that captured and augmented that initial intimacy.” Which is indeed what Becky, John, Finn & Ryan have now done. The quartet have dug back into their twenty-year, six-album history and selected eleven tracks that they felt could most benefit from this song-spotlighting treatment. With their original acoustic intros as cues, they’ve taken them to their natural conclusions. A Sliding Doors-type feast for LNA enthusiasts both new and established, or indeed all lovers of downtempo, downtime, live instrumentation-led music, ‘Echos’.

Kiari Kendrell Cephus, known professionally as Offset, is an American rapper. He rose to prominence as part of the hip hop group Migos

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

repressed !

Brothers Hom Yu and Jiun Chi returned to Taipei in 2017 after finishing their studies. Since then they began to explore their mutual obsession for Taiwanese occult-inspired art and vintage superstitious imagery, channelling it through music. Mong Tong means many things in Chinese, but the translation they choose to fit their music is “the east-side of dreams”.

Growing up in Taiwan in the 90’s, the brothers listen to 電子琴音樂 which they describe as “relaxing Chinese synth pop” along with video game soundtracks, psychedelic music, doom metal and sound collage/library music. On “Mystery秘神” these inspirations combine with the dark humour of Taiwanese folklore and a love of conspiracy theories to form what they describe as “a psychedelic journey to the east.”

Album Description
Recorded in their home studio in Taipei, “Mystery 秘神” is a psychedelic journey into Taiwanese folklore combined with the 80’s media obsession with the supernatural. It’s a record that manages to combine nostalgia and tradition with humour and an underlying intrinsic earthiness to create something unlike anything else out there.

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

Originally released in `96, TYREE is reissuing this classic DANCE MANIA EP for 2023. Released at the height of Chicago's infamous "Ghetto House Era," with tunes like "IT'S ALL GOOD," and "LET IT GO," this record has been in constant demand for over 20 years. Play it loud and play it now.

Fall is here after all the summer maddness with festivals, mediterranean tours and Ibiza residencies, it full on vinyl releases for Vega Records. Introducing the 5 Pack Unreleased IV edition, Vega Records takes another step into the world of unreleased music from the Vega Family. Gems from Leroy Burgess, Two Soul fusion, Tony Touch, Professor Featuring Ndu Shezi & Thebe, Johnny Dangerous, and gospel royalty Bebe Winans to Elements Of Life Demos and songs in the making all come together on this special 5 piece vinyl set. With 12 tracks in the sequence there are a select number of talented producers on the project which include Two Soul Fusion AKA Louie Vega & Josh Milan, Pablo Fierro, Johnny Dangerous, Luis Radio, Pietro Nicosia and musicians Axel Tosca and Luisito Quintero. They all contribute to these unique pieces of music mastered by the one and only who we call “The Quincy Jones Of Mastering” Mr. Herb Powers of PM Mastering and the vinyl manufactured by Optimal, Germany. With a limited number of copies made make sure you get your hands on them, they will be rare and very fast!!! Vega Records “always bringing you top quality music” !! Distributed by Above Board, UK.

Following an inspiring moment during a back-to-back live appearance at Fool’s Gold Presents: A-Trak & Friends in Oasis Wynwood during this year's Miami Music Week, The Magician and long-time friend A-Trak have collaborated on the captivating new single 'Love On You' (ft. Griff Clawson).

The Magician - known for his seminal Magic Tapes compilation series - heads up Potion Records and is a veteran of high-profile collaborations with Kolombo and Samaran, amongst many more. He has a mystic touch and spellbinding sound full of emotion and has taken it to places like Ushuaia Ibiza, Tomorrowland, and CRSSD festival in San Diego while also holding down his influential residency at Elsewhere Brooklyn. Here, he works with A-Trak, a.k.a. Alain Macklovitch, a legendary talent on the decks, president of Fool's Gold Records and a quintessential cultural connector. His 25-year career has seen him take turns as an internationally renowned DJ and World Champion turntablist, as well as being one half of the Grammy-nominated duo Duck Sauce and The Brothers Macklovitch, all of which have meant he continues to reshape the very role of the DJ as tastemaker and storyteller.

Their sublime 'Love On You' (ft. Griff Clawson) is an uplifting dance track that radiates positive vibrations. The rhythm section is married to tender piano chords and plenty of subtle synth details that bring it to life. The standout feature is the well-treated vocal that sounds fresh and futuristic but comes laden with a bittersweet sense of emotion that hooks you in and is sure to be sung back by vast crowds worldwide.

Support from: Purple Disco Machine, Junior Sanchez, Feenixpawl, Swanky Tunes, Olugbenga, ROOG (Hardsoul), Mr. Belt & Wezol, Judge Jules, Sugarstarr, Keanu Silva, Dots Per Inch, DJ Phantasy, Micha Moor, Patric La Funk, Borgore, Don Diablo, Claptone.

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

12 original festive songs, characterised by Johnson’s characteristic songwriting excellence, ranging in tone from the sardonic to the sentimental, featuring traditional seasonal conventions (50s jazz, Father Christmas, mistletoe, sprouts etc) performed by The Xmas Irregulars: Sian Allen – vocals, trumpet, saxophone // John Forrester – vocals, double bass // Robb Johnson – vocals, guitar, tuned percussion // Fae Simon - vocals // Roger Stevens – vocal, piano with Arvin Johnson- drums, Saskia Tomkins – violin & viola // Recorded by Ali Gavan, Brighton Road Studios. Robb Johnson-Brief biography: Robb’s widely recognised as one of the UK’s finest songwriters. “An English original”, (Robin Denselow, the Guardian) “one of our best singer-songwriters ever” (Mike Harding) “one of this country’s most important songwriters (no argument!)” (fROOTS). His work includes two highly acclaimed song suites, Gentle Men, & Ordinary Giants, -a “masterpiece” (fROOTS), “monumental” (FATEA). Last year Murder at the Grange premiered to enthusiastic, sold-out audiences at The Ropetackle in Shoreham & Chats Palace in Hackney – “a cracker of a show… a delightful extravaganza and a uniquely dark and different way to celebrate the winter season” was Folk Radio’s opinion. The Xmas Irregulars: Sian Allen – actor-musician, resident singer at Walthamstow Folk Club // John Forrester – singer & songwriter, bassist in various bands // Fae Simon - studied opera, hip-hop, soul & jazz recording artiste // Roger Stevens – award-winning children's poet & novelist // Arvin Johnson & Saskia Tomkins are both ex-Irregulars – Arvin now drums with Manchester-based band Tigers & Flies, & Saskia now lives & works -to great acclaim- in Canada

Atomçk are back! Expanded to a quartet, here is more of their uniquely eccentric and offbeat brand of grindcore for thee end-tymes. Another head crusher of cacophonous chaos, all furiously catchy riffs and inhumanly shrill, stuck-ape vocals with pinpoint drums that border on the chaotic. "Newly expanded to a quartet, Towering Failures is undoubtedly the band’s heaviest and most sonically flattening release to date, boasting a gigantic tone that sounds downright apocalyptic on slower numbers. For the most part though, this album races past at lightspeed, but manages to convey a host of different moods and textures in amongst its frantic delivery. Atomçk have been getting better and better with each subsequent album, but this is surely their most powerful and definitive record to date, and one of the most inventive and memorable grindcore records of the year thus far." - The Quietus "Like a budgie with a whistle" – Ninehertz

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years

The man from Los Angeles delivers a fantastic release here. higly recommended!

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

On his sole album as a leader, bassist Melvin Jackson - a veteran of the Eddie Harris band (this album includes two Harris originals) - plays with a bow, plucks and plugs his upright bass into a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Ampeg amp. The result is soulful, psychedelic, and of course, funky – at once one of the grooviest and most avant-garde albums you’ll ever hear. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

This 1957 release, the third in a series of albums expanding on Bird’s 10” Clef releases from the early 1950’s, Now’s The Time boasts some of Parker’s purest recordings and strongest playing, featuring two different quartets. His lyrical and fluid improvisations on cuts like “The Song Is You” and “Laird Baird” are on full display, prime examples of his unmatched genius. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Orphax & PONI (person of no importance) is a collaboration between the two Dutch brothers, Sietse (Orphax) and Tjeerd (PONI) van Erve. Since their early years they share a broad interest in music, fed mostly from their fathers’ record collection, ranging from early blues to Pink Floyd or Beethoven. But also listening to Belgian radio channel Studio Brussels (which during the late 80s and early 90s was a common listening close to the borders between The Netherlands and Belgium), and the late night Dutch radio inspired them in exploring the rough edges of underground music.

An exploration that gave them a common interest in indie and noise rock, but soon enough both followed their own path in music. Tjeerd moving more into underground guitar music, whilst Sietse developed a wider interest in (experimental) electronic and contemporary music. Both as listeners, but also exploring their own interests as musicians.

Now many years later these musical paths cross again in this album Inheritance (with a slight imagination, a translation of their last name van Erve). An album where Tjeerd brings in his dark and noisy lo-fi guitar songs and Sietse brings in his drones and electro-acoustic composition styles.

The album opens with its longest track, “As Received”. This combination results in a slow developing drone, with the intensity and tension of a well build-up post-rock track, that slowly unfolds Tjeerd his guitar layers and vocals. The title of the song refers to one of the PONI projects, where Tjeerd would send rough recordings to befriended musicians who than would rework those recordings without any restrictions which then would be released side by side with the original rough recordings. A project which actually sparked the idea of this collaboration (and that can still be listened to on PONI’s bandcamp-page).

On the flip side of the record, three shorter works give more room for regular song structures. In “Sunburns” this results in slowcore with subdued vocals, melancholic guitars and nasty synth and organ drones. When Tjeerd wrote the basis for the song, he actually had been listening to a lot of Codeine and Bedhead. One does not need much fantasy to recognize the influences of these bands.

“The Tears Are Necessary” is build up around various broken up piano tracks accompanied by moody drones to develop a fragile song.

The album closes with “Lockdown”, opening with silence as a moment of contemplation after the previous work but then quickly develops in a playful song where improvised play on piano, guitar and modular synthesizer create a lo-fi gem that clearly shows that both brothers still haven’t lost their love for Sentridoh or Guided By Voices.
All together resulting in an album that is an ode to the love of music, experiment, and creativity and a celebration of brotherhood.