quête:mark i

Philadelphia's CAGED present the most flawless merger of Death Metal,
Doom, Sludge and Harsh Noise in their crushing debut full length entitled
'From Roving About the Earth'
Mixed and mastered by James Plotkin (Khanate, Scorn, O.L.D., Atomsmasher)
and features artwork by Mark McCoy (Full of Hell, Pig Destroyer, Nothing). Five
songs that purvey determination intertwined with filth and decay

Saxophonist Alex Hitchcock continues his mission to seek out new sounds and textures at the forefront of contemporary jazz, and to act as a catalyst to bring together some of the finest musical talents drawn to the fervid internationalism of the contemporary London scene His response to the current challenging climate for artistic endeavour is to go big and go bold: Dream Band: Live in London is a truly groundbreaking project presenting three different 'dream bands' of his favourite musicians, captured live over three nights at London's legendary Vortex club performing music specially composed for each ensemble. The extraordinary line- ups he assembled are testament to the respect he has earned among his peers as a composer, player and bandleader with a uniquely inspiring vision. The band for the first night features the frontline of Mark Kavuma's trumpet and Liselotte Ostblom's vocals blending together over the trio of Rob Luft, Rio Kai, and Jamie Murray: the second features James Copus on trumpet with longtime musical partners Kit Downes on piano and Lewis Wright on vibes, and Conor Chaplin and Marc Michel supplying bass and drums, and the third sets Downes' piano alongside the guitar of Ant Law and Alexandra Ridout's trumpet, with the international all-star rhythm section team of Orlando le Fleming and James Maddren. Part of the album's delight lies in the unexpected combinations of these acclaimed players, and the new levels of creativity that they bring forth; the constant presence of Hitchcock's unmistakeable voice on tenor sax and the strength and consistency of his writing gives the project a compelling unity. Each of the three bands brings their own unique blend of voices to Hitchcock's compositions, taking them in directions unforeseen even by their composer.

2023 markiert den Beginn einer neuen Ära für IN FLAMES mit der Veröffentlichung des vierzehnten Studioalbums Foregone - ein neues Meisterwerk einer Band, deren kreativer Output den Kurs und die Richtung des modernen Metals verändert hat.

Um den Aufwärtstrend fortzusetzen, markiert 2023 auch die Wiederveröffentlichung von vier bahnbrechenden Titeln aus dem umfangreichen Katalog der Band, nämlich A Sense of Purpose (2008) (15th Anniversary Edition inc. The Mirror's Truth EP, die noch nie auf Vinyl erhältlich war), Reroute to Remain (2002), Come Clarity (2006) (mehr als 400.000 verkaufte Exemplare weltweit + Gewinner des schwedischen Grammis-Preises für das beste Hard Rock-Album 2017) und Sounds of a Playground Fading (2011), die alle vergriffen und bei alten und neuen Jesterheads gleichermaßen sehr gefragt waren.

Die Wiederveröffentlichungen von 2023 enthalten alle Original Artworks mit einigen wenigen, sorgfältigen Retuschen. Alle Veröffentlichungen wurden von Justin Shturtz im legendären Sterling Sound Studio in Nashville, Tennessee, speziell für Vinyl neu gemastert. Alle Platten werden auf schweres 180g-Vinyl gepresst und sind mit dem unverkennbaren Jesterhead-Logo auf Seite D (z.B. A Sense of Purpose) versehen!

2023 markiert den Beginn einer neuen Ära für IN FLAMES mit der Veröffentlichung des vierzehnten Studioalbums Foregone - ein neues Meisterwerk einer Band, deren kreativer Output den Kurs und die Richtung des modernen Metals verändert hat.

Um den Aufwärtstrend fortzusetzen, markiert 2023 auch die Wiederveröffentlichung von vier bahnbrechenden Titeln aus dem umfangreichen Katalog der Band, nämlich A Sense of Purpose (2008) (15th Anniversary Edition inc. The Mirror's Truth EP, die noch nie auf Vinyl erhältlich war), Reroute to Remain (2002), Come Clarity (2006) (mehr als 400.000 verkaufte Exemplare weltweit + Gewinner des schwedischen Grammis-Preises für das beste Hard Rock-Album 2017) und Sounds of a Playground Fading (2011), die alle vergriffen und bei alten und neuen Jesterheads gleichermaßen sehr gefragt waren.

Die Wiederveröffentlichungen von 2023 enthalten alle Original Artworks mit einigen wenigen, sorgfältigen Retuschen. Alle Veröffentlichungen wurden von Justin Shturtz im legendären Sterling Sound Studio in Nashville, Tennessee, speziell für Vinyl neu gemastert. Alle Platten werden auf schweres 180g-Vinyl gepresst und sind mit dem unverkennbaren Jesterhead-Logo auf Seite D (z.B. A Sense of Purpose) versehen!

2023 markiert den Beginn einer neuen Ära für IN FLAMES mit der Veröffentlichung des vierzehnten Studioalbums Foregone - ein neues Meisterwerk einer Band, deren kreativer Output den Kurs und die Richtung des modernen Metals verändert hat.

Um den Aufwärtstrend fortzusetzen, markiert 2023 auch die Wiederveröffentlichung von vier bahnbrechenden Titeln aus dem umfangreichen Katalog der Band, nämlich A Sense of Purpose (2008) (15th Anniversary Edition inc. The Mirror's Truth EP, die noch nie auf Vinyl erhältlich war), Reroute to Remain (2002), Come Clarity (2006) (mehr als 400.000 verkaufte Exemplare weltweit + Gewinner des schwedischen Grammis-Preises für das beste Hard Rock-Album 2017) und Sounds of a Playground Fading (2011), die alle vergriffen und bei alten und neuen Jesterheads gleichermaßen sehr gefragt waren.

Die Wiederveröffentlichungen von 2023 enthalten alle Original Artworks mit einigen wenigen, sorgfältigen Retuschen. Alle Veröffentlichungen wurden von Justin Shturtz im legendären Sterling Sound Studio in Nashville, Tennessee, speziell für Vinyl neu gemastert. Alle Platten werden auf schweres 180g-Vinyl gepresst und sind mit dem unverkennbaren Jesterhead-Logo auf Seite D (z.B. A Sense of Purpose) versehen.

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz will release a remastered edition, on Carpark Records.

On their debut full-length, Western Massachusetts' Speedy Ortiz manages a bit of magic by conjuring the spirits of classic American indie rock, while twisting those ghosts into new shapes. It's easy to hear the influences of Helium, Jawbox, and Chavez on this album, as well as nods to their contemporaries including Grass is Green, Pile, and Roomrunner. Sweet vocal harmonies run up against gnarly distortion, aided by basic, chunky bass parts and heavy, fill-laden drums.

The album was recorded in a few days in November at Justin Pizzoferrato's (Dinosaur Jr., Chelsea Light Moving) studio, Sonelab, a huge space in an old factory in Easthampton, Mass. The sessions went from very early in the day until very late at night, with the band taking its time to experiment. Pizzoferrato's collection of old distortion pedals were utilized on both the record's guitars and vocals.

The theme of the occult and the supernatural runs deep through Major Arcana, inspired by singer-guitarist Sadie Dupuis' reading on black magic. Dupuis' sometimes knotty and abstract lyrics bring to mind fellow wordsmith Stephen Malkmus, while referencing horror film tropes, chemistry, and neuroscience. Major Arcana's literal translation is 'major mysteries,' a phrase from tarot cards. 'I don't write in a narrative way and am more concerned with use of language than meaning,' Dupuis says, 'so I like the open-endedness of the title and the way it invites interpretation.'

After too much time freelance writing and watching re-runs in a windowless Brooklyn basement, guitarist and songwriter Sadie Dupuis left New York City for the wilds of Northampton, MA in order to pursue a master's degree in poetry. In doing so, she began Speedy Ortiz, a self-recorded lo-fi project named after a minor character from the Love and Rockets comic series. Speedy Ortiz soon became something else entirely as bassist Darl Ferm, guitarist Matt Robidoux, and drummer Mike Falcone teamed up to form a full band, balancing abrasive noise with infectious earworms. The newly minted Speedy Ortiz quickly found an audience in the Boston DIY scene, playing frequently with their friends Pile, Grass is Green, Fat History Month, Sneeze, Krill, and Arvid Noe.

Almost immediately, the band recorded a two-song single, 'Taylor Swift' and 'Swim Fan,' with Paul Q. Kolderie (Pixies, Hole) and Justin Pizzoferrato (Chelsea Light Moving, Dinosaur Jr.), and self-released it in March of 2012. Shortly thereafter they spent a few weekends at the dingy yet atmospheric Sex Dungeon Studios in Philadelphia recording the Sports EP, a five-track, loosely conceptual 10' released that June on Exploding in Sound Records.

The creation of Major Arcana, their full-length debut, marks the evolution of Speedy Ortiz into a wholly collaborative effort. Darl leans toward basic, chunky parts, while Mike, a talented songwriter in his own right, helped arrange while also providing aggressive, boisterous drums. And Matt is a classically trained guitarist, but his experience in noise and experimental music comes through in his anti-melodic guitar solos, which counterbalance Sadie's angular, scalar guitar riffs and poppy vocals.

The end result is a band able to distill their influences and creative impulses into something at once dissonant and melodic, noisy yet undeniably pop.

2023 Repress
Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

Die Bob Dylan World Tour 1978 markierte die ersten internationalen Konzertdaten des Künstlers seit 1966 und seine ersten Live-Shows seit der Rolling Thunder Revue, die 1975-76 durch Nordamerika führte. Die einjährige Tournee war ein internationales Musikereignis, bei dem Bob Dylan in großer Besetzung weltweit vor mehr als zwei Millionen Fans spielte. Die Tournee begann im Februar 1978 mit elf historischen Auftritten: Dylans allererste Konzerte in Japan, darunter acht Auftritte in der berühmten Nippon Budokan Hall in Tokio. Zwei der Budokan-Konzerte - der 28. Februar und der 1. März 1978 - wurden auf analogen 24-Kanal-Mehrspurbändern aufgezeichnet. "The Complete Budokan 1978" ist das erste Mal, dass Dylans komplette Konzerte von seiner Welttournee 1978 offiziell als 4CD-Box erhältlich sind. Die Doppel-LP "Another Budokan 1978" ist speziell für Vinyl-Fans zusammengestellt, sie enthält 16 bisher unveröffentlichte Highlight-Titel aus dieser Box.

Das experimentelle elektronische Hiphop-Duo H31R (sprich: air) - bestehend aus der Produzentin/ Komponistin JWords aus New Jersey und der Rapperin/ Sängerin maassai aus Brooklyn - kündigt seine neueste Veröffentlichung, „HeadSpace“, auf dem Ninja Tune-Sublabel Big Dada an. Das Album folgt auf ihr außergewöhnliches Debütalbum, „ve-loc-i-ty“, aus dem Jahr 2020, das sofort die Aufmerksamkeit von Pitchfork, The Wire, Brooklyn Vegan, Okayplayer, Cabbages, Bandcamp und anderen auf sich zog.

„HeadSpace“ markiert eine neue Phase des Erwachsenwerdens für das Duo; es findet sich mit einem neuen Verständnis dessen ab, was es ist, und erkundet, wie es mit der Welt interagieren möchte. Wie sein Vorgänger manövriert auch „HeadSpace“ mit rasender Geschwindigkeit durch seine 14 Tracks. „Glitch In Time“ gibt den Ton für das Album an, mit düsteren Bässen, groovigen Drums und schrägen Melodien, die sich durch das ganze Album ziehen. Es enthält Momente der Introspektion und Selbstreflexion, in Songs wie „Static“ und „Reflection“, während das erbauliche Diptychon „Rotation“ - ein oszillierender Track, der die Essenz von Licht und Dunkelheit einfängt - und „All Over The Place“, das die Dualität transzendiert und sich zu einem multidimensionalen Selbst ausweitet. Auch „Backwards“, das trotz seines Namens ein treibendes Stück ist, in dem es darum geht, sich von Dingen zu lösen, die einen zurückhalten, und „Train Of Thought“, das die Mechanismen des Denkens untersucht und zunächst konkreter beginnt, bevor es gegen Ende des Songs allmählich abstrakter wird.

„HeadSpace“ enthält außerdem Beiträge des aufstrebenden Rappers und Produzenten Semiratruth aus Chicago zu dem motivierenden „Glass Ceiling“ und eine verspielte Strophe des für den GRAMMY nominierten Produzenten und Rappers Quelle Chris aus Detroit zu „Down Down BB“.

■ "Heden" von Frank Boeijen, veröffentlicht im Jahr 2001, markierte ein neues Jahrtausend und eine
neue Ära. Nach den Alben "Vaderland" und "Ballade Van De Dromedaris", bei denen das Thema
'Abschied' den roten Faden bildete, setzt "Heden" diese Tradition fort. Es handelt sich um ein
vielseitiges Album mit einer breiten Palette von Themen. Da haben wir das Lied "Heden", in dem
Boeijen die Veränderungen in der Gesellschaft beobachtet, aber auch ein klassisches introspektives
Gedicht von Fernando Pessoa, das von Boeijen vertont wurde. Darüber hinaus enthält das Album
auch drei erfolgreiche Singles: "Tijd", "De Liefde Gaat" und das Duett mit Paskal Jakobsen (BLØF)
"Geen Gevaar". Alle drei schafften es in die niederländische Single Top 100. "Heden" ist First Time
auf Vinyl erhältlich und enthält ein Beiblatt mit den Songtexten.

Brueder Selke, a polyinstrumental composer duo originally from East Berlin, consistently enriches the repertoire of their two primary instruments: cello and piano. Their independent curator role shines through as they frequently host boutique concerts and happenings, featuring both established and emerging artists during their yearly Q3Ambientfest.

'Go East' marks a significant milestone in the long-term collaboration of Brueder Selke, two brothers who grew up on the socialist side of the Berlin Wall. The tracks are driven by the essential components of a restored Piano-Strings machine, along with two electronic organs named Sandy and the ET6-1, and a E-Piano, all manufactured by Vermona in the late 1970s and early 1980s.

Their innate sense of interplay, developed during their upbringing in GDR times, stems from a deep-rooted longing for connection and exchange with like-minded musicians and individuals. Through their music, they convey ideas that embrace a universal duality, showcasing how diverse elements harmoniously complement each other. The album encompasses a wide range of atmospheric moods, from intimate classical chamber music to expansive textural landscapes created by these now rarely intact socialist synthesizers, with their parameters mimicking strings and keyboard instruments. In this ironic and thoughtful manner, Sebastian and Daniel once again skilfully let their main instruments, cello and piano, merge into one another.

'Go East' aptly reflects the artist's profoundly experimental yet accessible approach, making it their 8th duo album. The 2x2 recordings were produced in their Klingenthal Studio in Potsdam in February 2022.

After a string of two dozen brilliant albums beginning in the 1950’s, clarinetist, saxophonist, flutist,
composer and arranger Jimmy Giuffre stopped recording. For nearly ten years he focused solely on
live performance. This album, Music for People, Birds, Butterflies and Mosquitoes, marked his return
to the studio after his self imposed hiatus. Known for developing forms of jazz which allowed for free
interplay between the musicians, Giuffre began his career as an arranger for Woody Herman’s big
band in the late 1940s. Playing primarily saxophone, he became a central figure in the West Coast
cool jazz scene of the 1950’s, with the Lighthouse All Stars in Hermosa Beach, CA. In the late 50’s, he
began working within different configurations of the trio format, on what he called “blues-based folk
jazz.” A prime example being his piece "The Train and the River" famously featured in 1958 Newport
Jazz Festival concert film, Jazz On A Summer’s Day. The trio here is completed by drums and bass
with Giuffre trading seamlessly between tenor saxophone, clarinet, flute and bass flute. The twelve
original compositions are very much in Giuffre’s signature style. The melody explorations have an
eastern vibe, and are played in hushed tones with an almost chamber music like quality. From 1973,
originally on the Choice label, this album has been remastered and is being presented here as the
artist intended, with its original title, track order and album artwork, for the first time since its original
release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out
Vinyl.

Stacey Kent is a classic jazz singer with a legion of fans, international honors and awards, sales in the
millions, and chart-topping albums spanning a 25 year career. As the title suggests, 1998’s Let
Yourself Go: Celebrating Fred Astaire, is a tribute to one of Kent’s heroes. The album features songs
from The Great American Songbook made famous by Astaire on film. Like Astaire, Kent seamlessly
and easily takes the audience along with her, creating an elegant intimacy in her performances.
Thanks to the tight arrangements, effortlessly executed by Kent's skilled section, the recording exudes
a remarkable sense of musical cohesion and sophistication. Kent's interpretation of the songs is
marked by her understanding of the lyrics, conveying their emotional depth and subtle nuances.
Produced by Kent’s long time companion and collaborator Jim Tomlinson and recorded at Curtis
Schwartz Studios, England, the album has been remastered and is available on vinyl for the first time
in over a decade as a 2xLP set. Remastered by Alex McCollough at True East Mastering. Vinyl cut by
Jeff Powell at Take Out Vinyl

Disciples bringt eine Neuauflage des modernen Detroit-Elektro-Klassikers des enigmatischen Projekts NRSB-11 heraus, das in erster Linie eine Zusammenarbeit zwischen Gerald Donald (Drexciya, Dooplereffekt, Arpanet, Japanese Telecom) und DJ Stingray 313 (Urban Tribe, offizieller Drexciya-Tour-DJ, gefeierter Solokünstler) ist. Ursprünglich 2013 als limitierte Auflage auf dem belgischen Label WéMè erschienen, war ihr einziges Album 'Commodified' schnell vergriffen und erfreut sich seitdem großer Beliebtheit, derzeit steht es auf 1.783 Discogs-Suchlisten. Die erste Reissue erscheint als CD mit 3 Bonustrack (NRSB-11 EP aus 2012) und als Clear-Vinyl-2LP-Edition, bei der das Original-Cover im Siebdruckverfahren auf eine PVC-Außenhülle gedruckt wurde, mit den beiden Vinyl-Discs in transparenten Poly-Innentaschen.

Dies ist eine Deluxe-Edition-Pressung. 2LPs. Disc 1 ist das normale Album. Disc 2 sind
Demos von der ursprünglichen Aufnahmesession mit 7 Demotracks, die in der Garage der
Band auf einem Reel-to-Reel Tascam 388 aufgenommen wurden. Gepresst auf
Green/Black Swirl Vinyl in limitierter Auflage. Produziert von Dave Cobb (Chris Stapleton,
Sturgill Simpson, Rival Sons) und gemischt/engineered von Eddie Spear, einem jungen
Briten. All Them Witches' Sleeping Through The War ist das bisher mutigste und
durchdachteste Album des Quartetts. Die Entstehung des Albums markiert das erste Mal
in der Geschichte der Band, dass ein Album geschrieben wurde, bevor es ins Studio ging.
Dieser Prozess ermöglichte es, die Kunst, den Wunsch und die Zeit der Band in Einklang
zu bringen. Nach nur sechs Tagen in Nashville, nachdem sie ein Jahr lang unermüdlich
durch ihr Debütalbum Dying Surfer Meets His Maker" auf New West Records getourt
waren, verschmolz der Geist der Band zu einem Rhythmus aus Aussage und Melodie, der
einfach gehört werden muss. Unter der Leitung von Cobb und Spear fängt Sleeping
Through The War die wahrhaftige Energie der Gruppe ein, mit voller Wucht, Spaß und
Nachdenklichkeit

Salvation - ursprünglich 1997 veröffentlicht - ist das 5. Alphaville-Album und markiert eine turbulente Zeit für die Band: Ricky Echolette hatte Alphaville während der Produktion verlassen und Marian Gold und Bernhard Lloyd mussten das Album alleine fertigstellen.

Drei Titel des Albums wurden als Singles veröffentlicht: "Wishful Thinking", "Flame", und "Soul Messiah". Das Album wurde trotz der problematischen Produktion ein Erfolg. Es wurde der Rückkehr der Band zu ihren Synthpop-Wurzeln zugeschrieben. Die Rückbesinnung auf ihre eingängigeren, einfacheren und poppigeren Wurzeln zeigt
stilistische Ähnlichkeiten zu Forever Young. Das Album wird zum ersten Mal auf Vinyl veröffentlicht. Die 3-CD-Extended-Version enthält mehrere Mixe und alternative Versionen.

- 2LP - remastered, Trifold-Hülle plus 24-seitiges Booklet

- 3CD - enthält die Original-CD plus zwei zusätzliche Discs mit Tracks, die nur auf Vinyl erhältlich waren die nur auf 12"-Vinyl erhältlich waren, und eine 5"-Maxi-CD mit Mixen, alternativen Versionen usw.