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Revisiting a press release for the Nightingales' last album, Four Against Fate, we recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, "Sunlit Uplands", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the groups's best songs: perverse as fuck, catchy as fuck. I � CCTV is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate "Frances Sokolov", Robert's ode to mentor Vi Subversa, the playground riff that underlines "Spread Yourself Out" and then "Bloody Breath", the best encapsulation of all the band's genius in developing a kind of "pop" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of "Magical Left Foot", the courtly raver of "I Need The Money At The Time" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, "My Sweet Friend", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. Try and deny it. Tracks: 1 Sunlight Uplands (Turn That Frown Upside Down) 2 I � CCTV 3 Frances Sokolov 4 Spread Yourself Out 5 Bloody Breath 6 Mind Of Stone 7 I Needed The Money At The Time 8 The Very Nature 9 Magical Left Foot 10 Mark Meets No Mark 11 My Sweet Friend

CAVERNOUS GATE veröffentlichen mit "Voices from a Fathomless Realm" ihr Debütalbum. Musik und Texte des deutschen Death Doom Soloprojekts wurden von Multiinstrumentalist Sebastian "S.K." Körkemeier konzipiert, komponiert und verfasst. Sebastian hat sich in der Metal-Szene als Mitbegründer von HELRUNAR unter dem nom de guerre Alsvartr und als Live-Musiker bei Markus "Schwadorf" Stocks Black Metal Projekt SUN OF THE SLEEPLESS sowie EMPYRIUM längst einen exzellenten Ruf erworben. Sein Projekt CAVERNOUS GATE und das Album "Voices from a Fathomless Realm" sind hörbare Liebesbekundungen des vielseitigen Instrumentalisten an den Sound britischer Doom und Death Pioniere wie die ganz frühen PARADISE LOST und CATHEDRAL sowie den schwedischen Death Metal im Stile der frühen ENTOMBED und DISMEMBER. Aus der Herzensangelegenheit ist ein ebenso finsterer und melancholischer wie massiver Heavy-Monolith entstanden. Und während auf "Voices from a Fathomless Realm" Sebastians Granit gurgelnde und abgrundtiefe Growls eindeutig dominieren, bietet Jenny Kalbitz' wunderbare Frauenstimme an handverlesenen Stellen einen subtilen Kontrast. Textlich erkundet Sebastian mit "Voices from a Fathomless Realm" eine düstere Fantasiewelt des Zwielichts und ihre geisterhaften Bewohner. In seiner Lyrik "malt" der Autor gleichsam wie bei der Beschreibung von Gemälden metaphorische Traumbilder. In "Voices from a Fathomless Realm" steckt zwar auch die langjährige Erfahrung des gestandenen Metal-Musikers, doch es ist seine hörbare Liebe zu dem dunklen Heavy-Stil, die den Unterschied macht und dieses Album von der Masse ähnlicher Veröffentlichungen deutlich abhebt. CAVERNOUS GATE nehmen uns mit auf eine albtraumhafte Reise in die Abgründe des klassischen Doom Death, der jedoch auf eine zeitgemäße Weise neu interpretiert wird und nicht in schaler Nostalgie versackt. Es lohnt sich, beim "Betrachten" dieser musikalischen Bilder von unerwarteter Schönheit länger zu verweilen und die unerforschten Tiefen von Schmerz und seelenreißender Traurigkeit auf sich wirken zu lassen.

CAVERNOUS GATE veröffentlichen mit "Voices from a Fathomless Realm" ihr Debütalbum. Musik und Texte des deutschen Death Doom Soloprojekts wurden von Multiinstrumentalist Sebastian "S.K." Körkemeier konzipiert, komponiert und verfasst. Sebastian hat sich in der Metal-Szene als Mitbegründer von HELRUNAR unter dem nom de guerre Alsvartr und als Live-Musiker bei Markus "Schwadorf" Stocks Black Metal Projekt SUN OF THE SLEEPLESS sowie EMPYRIUM längst einen exzellenten Ruf erworben. Sein Projekt CAVERNOUS GATE und das Album "Voices from a Fathomless Realm" sind hörbare Liebesbekundungen des vielseitigen Instrumentalisten an den Sound britischer Doom und Death Pioniere wie die ganz frühen PARADISE LOST und CATHEDRAL sowie den schwedischen Death Metal im Stile der frühen ENTOMBED und DISMEMBER. Aus der Herzensangelegenheit ist ein ebenso finsterer und melancholischer wie massiver Heavy-Monolith entstanden. Und während auf "Voices from a Fathomless Realm" Sebastians Granit gurgelnde und abgrundtiefe Growls eindeutig dominieren, bietet Jenny Kalbitz' wunderbare Frauenstimme an handverlesenen Stellen einen subtilen Kontrast. Textlich erkundet Sebastian mit "Voices from a Fathomless Realm" eine düstere Fantasiewelt des Zwielichts und ihre geisterhaften Bewohner. In seiner Lyrik "malt" der Autor gleichsam wie bei der Beschreibung von Gemälden metaphorische Traumbilder. In "Voices from a Fathomless Realm" steckt zwar auch die langjährige Erfahrung des gestandenen Metal-Musikers, doch es ist seine hörbare Liebe zu dem dunklen Heavy-Stil, die den Unterschied macht und dieses Album von der Masse ähnlicher Veröffentlichungen deutlich abhebt. CAVERNOUS GATE nehmen uns mit auf eine albtraumhafte Reise in die Abgründe des klassischen Doom Death, der jedoch auf eine zeitgemäße Weise neu interpretiert wird und nicht in schaler Nostalgie versackt. Es lohnt sich, beim "Betrachten" dieser musikalischen Bilder von unerwarteter Schönheit länger zu verweilen und die unerforschten Tiefen von Schmerz und seelenreißender Traurigkeit auf sich wirken zu lassen.

THE NEW STUDIO ALBUM FROM THE JAPANESE LEGENDS - AN OPUS
OF DARK & ECLECTIC BLACKENED HEAVY METAL, SHROUDED IN
TRADITIONAL EASTERN INFLUENCES..
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought in & Sigh set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field whilst
maintaining their old school roots.
'Shiki' marks the latest chapter in the Sigh legacy & includes some of the band's
heaviest & darkest material for some years; a fine hybrid of at times primitive
black metal akin to early influences such as Celtic Frost amid more epic melodic
heavy metal riffing & solos. The album also utilises a whole host of instruments
to give further texture & dynamics to the compositions & eerie atmosphere,
incorporating traditional oriental instruments such as the Shakuhachi & Sinobue
flutes.
The word "Shiki" itself has various meanings in Japanese such as four seasons,
time to die, conducting an orchestra, ceremony, motivation, colour. The two
primary themes for the album are "four seasons" & "time to die".
The concept & artwork is based around a traditional Japanese poem & on 'Shiki'
Mirai explores how at this stage of life he himself is going through Autumn, with
Winter coming soon & so empathises with the contrasting sentimental feelings
from watching cherry blossoms (a symbol of spring) in full bloom.
Joining Mirai & Dr Mikannibal for this release are Frédéric Leclercq of Kreator,
plus US drummer extraordinaire, Mike Heller of Fear Factory, along with an
appearance by long-time member Satoshi Fujinami on bass. 'Shiki' was recorded
across multiple studios & mixed & mastered by Lasse Lammert at LSD studios in
Germany.

Glenn Fallows and Mark Treffel released their first album, ‘The Globeflower Master Vol. 1’, on Mr Bongo in September 2021. With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene’s connoisseurs. Louder Than War emphatically stated, "It’s impossible not to like The Globeflower Masters Vol. 1.”, with Gigwise echoing that praise “slickly compelling retro vibes”.

The Globeflower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European film soundtrack influences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk à la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1. Here the arrangements, melodies, and harmonies have been refined; only what is needed is left. Pulled into its vortex for the ride. This record doesn’t pull any punches.

The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from film and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globeflower Masters Vol. 2' takes us out of ourselves even if it's only temporarily.

To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The ‘Globeflower Master Vol. 2’ is a fitting tribute to the music they love and care deeply about and a glorious addition to their musical world.

The Globeflower Masters Vol. 1 takes its inspiration from classic soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani. Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making.

The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on. As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks.

The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

- Stunning debut album filled with lush, warm, timeless productions.

- Taking inspiration from classic 60s and 70s soundtrack, and cinematic, composers such as Axelrod, Morricone and Gainsbourg

The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke’s monumental return to Kompakt since his Zug um Zug two-tracker in 2014.

Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalising glimpse of Funke's freaky underworld. E_Plus follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody — a solid offering oddball of energy. On Alles Paletti, a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track Haus More is subdued, as chugging drums slither between a wobbly melody. The Other Version feels futuristic, as Funke goes full-force electro. Extra-terrestrial vocals return, but the pace is cranked up by strident sound FX and thudding drums. An eccentric end to an eccentric EP.

Sascha Funke is a Berlin-based producer and DJ with two decades' worth of releases building his back catalogue. BPitch Control, Turbo Recordings, Endless Flight, Running Back, and several more esteemed imprints have released his work. Today, he continues to create sleek sounds that weave various genres from house, techno, disco, Krautrock, wave, electro and unclassified anomalies. As a DJ, Funke is just as free-wheeling as his productions. He's played E1 in London, Caos in São Paulo and Renate in Berlin, amongst others, displaying his sweeping sound to a worldwide audience. Having been exposed to euro-dance pop as a youngster, you can hear flashes from the genre stitched throughout his work but blended in a way that's quintessential to Funke. Never one to change his sound according to the latest trend, Funke stays true to his creative vision — one of the most significant challenges for producers today.

Das traditionsreiche Kompakt-Imprint wird im September eine EP des deutschen DJs und Produzenten Sascha Funke veröffentlichen. Mit fünf Tracks, die sich durch schrulligen House und Techno auszeichnen, ist “Treets” Funkes monumentale Rückkehr zu Kompakt seit “ Zug um Zug” im Jahr 2014.

Im Gespräch über Treets sagt Funke, er sei "sehr glücklich, nach acht Jahren Pause wieder auf dem Mutterschiff Kompakt zu sein". Wie bei Funke nicht anders zu erwarten, passt die EP hervorragend in die kosmische Welt von Kompakt. Der Titeltrack vermittelt eine seltsame, abgedrehte Atmosphäre, wenn eine außerirdisch anmutende Stimme zwischen einer Acid-Bassline und quietschenden Perkussionsinstrumenten dahinplätschert. Es ist ein verlockender Einblick in Funkes freakige Unterwelt. “E-Plus” geht in eine ähnliche Richtung, nur dass dieses Mal die Stimmung bedrohlich ist. Funke paart einen orchestralen Gesang mit bleepigen Pads und seiner typischen Acid-getränkten Melodie - ein solides Angebot voller Energie. Auf “Alles Paletti” schaffen ein 2-Step-Drum-Pattern und eine Reihe heller Claps eine sonnige Klanglandschaft, die durch eine robuste Bassline und ätherische Synthesizernoten ergänzt wird. Das ist märchenhafte House-Musik, wie sie nur Funke produzieren kann. Der vorletzte Track Haus More ist zurückhaltend, da tuckernde Drums zwischen einer wackeligen Melodie schlittern. “Treets (The Other Version)” fühlt sich futuristisch an, weil Funke hier voll auf Elektro setzt. Der außerirdische Gesang kehrt zurück, aber das Tempo wird durch schrille Soundeffekte und stampfende Drums angezogen. Ein exzentrisches Ende für eine exzentrische EP.

Sascha Funke ist ein in Berlin ansässiger Produzent und DJ mit einem Backkatalog von zwei Jahrzehnten an Veröffentlichungen. BPitch Control, Turbo Recordings, Endless Flight, Running Back und einige andere angesehene Labels haben seine Arbeiten veröffentlicht. Heute kreiert er weiterhin geschmeidige Sounds, die verschiedene Genres wie House, Techno, Disco, Krautrock, Wave, Electro und unklassifizierte Anomalien miteinander verweben. Als DJ ist Funke genauso freizügig wie seine Produktionen. Er hat unter anderem im E1 in London, im Caos in São Paulo und im Renate in Berlin aufgelegt und seinen mitreißenden Sound einem weltweiten Publikum vorgestellt. Da er schon als Jugendlicher mit Eurodance in Berührung kam, sind in seiner Arbeit immer wieder Anklänge an dieses Genre zu hören, die aber auf eine Art und Weise vermischt werden, die ganz typisch für Funke ist. Niemals verändert Funke seinen Sound nach dem neuesten Trend, sondern bleibt seiner kreativen Vision treu - eine der größten Herausforderungen für Produzenten heutzutage.

VALBORG haben seit ihrer Gründung im Jahr 2002 mit jedem Album eine große Lust zu musikalischen Experimenten und Grenzüberschreitungen gezeigt. Dabei ist das Trio aus Bonn trotz aller Geschicklichkeit bei der Vermeidung von musikalischen Schubladen jedoch seinem ebenso dunklen wie harten musikalischen Markenkern stets treu geblieben. Entsprechend schwer haben sich Kritiker mit der Einordnung ihres Sounds getan und es unter anderem mit Etiketten wie "Doom", "Blackened Death Metal" und "Industrial" versucht. Fest steht, dass VALBORG auf ihrem neuen Album mit dem Titel "Der Alte" einen bewusst reduzierten Ansatz verfolgen. Die brutalen neuen Tracks kommen kurz und bündig auf den Punkt, nutzen einfache Strukturen und setzen auf extremen Gesang. Dazu kommt der typische, unerbittliche Schlagzeugbeat als Markenzeichen der Band. Unterstützt von LANTLOS-Schöpfer Markus Siegenhort, der für die gesamte Produktion verantwortlich zeichnet, haben sich VALBORG für einen rohen, ungeschliffenen Sound entschieden. Dieser stützt sich ganz auf die Gitarren, da dieses Album ohne Keyboards auskommt. Zu ihren hörbaren Metal-Einflüssen fügt das Trio weitere Elemente, zum Beispiel aus Punk und Wave, hinzu. Unter dem Strich bringt die Vereinfachung knallharte Tracks, die dennoch VALBORGs cineastische Qualitäten aufweisen und passend zu ihren lyrischen Themen bedrohliche Albtraum-Szenarien in kosmischen Dimensionen konstruieren. In den Texten lauern Schrecken und Wahnsinn der Abgründe des Weltraums, ebenso wie xenomorphe Manipulationen und apokalyptische Visionen, die sich oft auf kanonische Werke der modernen Science Fiction Literatur beziehen. VALBORG wurden 2002 in der deutschen Stadt Bonn gegründet. Kritiker haben das Trio unter anderem mit Künstlern wie GODFLESH, CELTIC FROST und TRIPTYKON sowie TYPE O NEGATIVE verglichen, doch VALBORG sind ihre eigenen Wege gegangen, die sich einfachen Kategorisierungen entziehen. Die Deutschen wurden bereits zum zweiten Mal vom trendigen Roadburn Festival in die Niederlanden eingeladen und haben auf weiteren renommierten Festivals und Touren mehrmals Europa durchquert. Die letzten Tournee spielte die Band im Vorprogramm von MANTAR und HEMELBESTORMER. Mit "Der Alte" bieten VALBORG weit mehr als nur einen bittersüßen Ohrenschmaus für ihre treue Fangemeinde: Das präzise, hart einschlagende Album ist für alle gedacht, die sich nach ebenso brutaler und dunkler wie intelligenter neuer Musik sehnen!

VALBORG haben seit ihrer Gründung im Jahr 2002 mit jedem Album eine große Lust zu musikalischen Experimenten und Grenzüberschreitungen gezeigt. Dabei ist das Trio aus Bonn trotz aller Geschicklichkeit bei der Vermeidung von musikalischen Schubladen jedoch seinem ebenso dunklen wie harten musikalischen Markenkern stets treu geblieben. Entsprechend schwer haben sich Kritiker mit der Einordnung ihres Sounds getan und es unter anderem mit Etiketten wie "Doom", "Blackened Death Metal" und "Industrial" versucht. Fest steht, dass VALBORG auf ihrem neuen Album mit dem Titel "Der Alte" einen bewusst reduzierten Ansatz verfolgen. Die brutalen neuen Tracks kommen kurz und bündig auf den Punkt, nutzen einfache Strukturen und setzen auf extremen Gesang. Dazu kommt der typische, unerbittliche Schlagzeugbeat als Markenzeichen der Band. Unterstützt von LANTLOS-Schöpfer Markus Siegenhort, der für die gesamte Produktion verantwortlich zeichnet, haben sich VALBORG für einen rohen, ungeschliffenen Sound entschieden. Dieser stützt sich ganz auf die Gitarren, da dieses Album ohne Keyboards auskommt. Zu ihren hörbaren Metal-Einflüssen fügt das Trio weitere Elemente, zum Beispiel aus Punk und Wave, hinzu. Unter dem Strich bringt die Vereinfachung knallharte Tracks, die dennoch VALBORGs cineastische Qualitäten aufweisen und passend zu ihren lyrischen Themen bedrohliche Albtraum-Szenarien in kosmischen Dimensionen konstruieren. In den Texten lauern Schrecken und Wahnsinn der Abgründe des Weltraums, ebenso wie xenomorphe Manipulationen und apokalyptische Visionen, die sich oft auf kanonische Werke der modernen Science Fiction Literatur beziehen. VALBORG wurden 2002 in der deutschen Stadt Bonn gegründet. Kritiker haben das Trio unter anderem mit Künstlern wie GODFLESH, CELTIC FROST und TRIPTYKON sowie TYPE O NEGATIVE verglichen, doch VALBORG sind ihre eigenen Wege gegangen, die sich einfachen Kategorisierungen entziehen. Die Deutschen wurden bereits zum zweiten Mal vom trendigen Roadburn Festival in die Niederlanden eingeladen und haben auf weiteren renommierten Festivals und Touren mehrmals Europa durchquert. Die letzten Tournee spielte die Band im Vorprogramm von MANTAR und HEMELBESTORMER. Mit "Der Alte" bieten VALBORG weit mehr als nur einen bittersüßen Ohrenschmaus für ihre treue Fangemeinde: Das präzise, hart einschlagende Album ist für alle gedacht, die sich nach ebenso brutaler und dunkler wie intelligenter neuer Musik sehnen!

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

On-U Sound announce latest volume in the Pay It All Back series with unreleased Lee “Scratch” Perry track, plus 40th anniversary live concerts

On-U Sound is proud to present the latest volume in the much-loved and collectable series of On-U Sound label samplers, packed with exclusives, alternate mixes and previews of upcoming releases. Includes unreleased tracks from Lee “Scratch” Perry, Tackhead, African Head Charge, Mark Stewart, Creation Rebel, Andy Fairley and more.

The first music to be shared from the album is an unreleased track with the late, great Lee “Scratch” Perry - “Many Names Of God” is an outtake from the sessions that produced the Rainford and Heavy Rain albums and also features vocals from Nightmares On Wax collaborator LSK aka Leigh Kenny.

The release of the new compilation also coincides with a very special concert taking place at the Forum in London, originally scheduled for 2020 but delayed because of the pandemic. Celebrating 40 years of the On-U Sound label, it brings together musicians and artists from at least four different continents for a unique evening with Horace Andy, Tackhead, African Head Charge, Creation Rebel and most of the other musicians featured on the album.

Label boss Adrian Sherwood comments: “As usual with the Pay It All Back series, the intention is to promote our upcoming releases and productions. Also on offer are previously unreleased gems, versions of tracks exclusive to this release and more from artists that we’re keen to promote. Sadly in the last year we have lost so many music giants from amongst us, including Lee “Scratch” Perry, George Oban and John Sharpe. Lee Perry laughed at death. It was to him just a part of life and another beginning...I trust Lee. I’m very proud of this album, it goes out to all On-U Crew, our missing and irreplaceable friends.”

Please note that the Rita Morar and Mark Stewart tracks are vinyl only, are not currently available digitally, and therefore are not accessible via the download card.

- Spec: Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card

Bonus tracks accessible via DL card:
1. Tackhead ft. MAD 45 - I Don’t Wanna Work A Fake Job
2. Sherwood & Pinch - Excessive Drinking
3. Ital Horns - Metropolis
4. LSK - Money Masters
5. Andy Fairley - Deranged Man

MC DUKE was one of the first UK rappers to find a serious level of success, laying the ground work for a generation of hip hop talent to follow. As well as being a UK hip hop legend, he was also one of the pioneers of the early British hardcore / jungle sound & owner of the Hard Disk record label.

The legacy of MC Duke with the early rave sound was cemented in history forever when The Prodigy sampled his voice for their chart topping hit Everybody In The Place! He was also one of the first MC’s on London’s infamous Kool FM. As a producer Duke was signed to the Boogie Times label, sister imprint of the genre defining Suburban Base, under the alias E.K.U.D.C.M. (which is MC Duke spelled backwards).

The first slice of vinyl on this collection features rare cuts from 1993 and perfectly showcases the evolution of the rave era into the sound that was at the time described as jungle techno, the precursor to jungle as we now know it.

Vinyl number 2 is the one that will get the collectors salivating... Featuring music by The Man With No Name, currently the only copies of these tracks are available at an asking price of £167 on the resale market, with people already parting with up to £155 to own a copy via re-seller site discogs!

Our third & fourth disc once again features 2 of MC Dukes alias’ with the darkside goodness that is Quiji Board, and closes with the most up to date track from the compilation by Phiziks previously unreleased on vinyl.

All tracks on this Hard Disk compilation have been expertly re-mastered to give you the optimum listening experience while retaining that authentic early 90’s sound you’d expect. This four-part vinyl collection is placed in a beautiful presentation box for which we’ve digitally re-created the original artwork style from Hard Disk releases back in the day to make this a true collector piece for those wanting a genuine piece of UK culture history.

Belgian instrumentalists Glass Museum have found the perfect balance between piano and drums, where jazz and electronics collide, uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points.

In motion since 2016, the duo consisting of keyboardist Antoine Flipo and drummer Martin Grégoire, have a rich history written around a powerful connection to duality. From the initial impact of the 'Deux' EP in 2018, to the synthetic and organic textures of the critically acclaimed 2020 album 'Reykjavik', Glass Museum has found its balance in symmetry.

Released 29th April via the groove-obsessed Sdban Ultra label, 'Reflet' was born out of a desire for freedom, a wish to innovate and travel differently. This new piece stands out as an artistic climax crafted at the crossroads of time and genres, an electronic proposition wrought by two brave hearts, tempered by the organic reflections delivered through computer free melodies. An album which places the human at the core of its compositions and in order to return to a more instinctive and instantaneous means of creation, the duo retreated to a secret location in one of the most remote parts of the Ardennes. It's there, in the shade of spruces, that the album was first born.

Extremely cinematographic, 'Reflet' delivers a panoramic view point: jazz, breakbeat, minimal techno and deep house, collide on neo classical grounds. From the dynamic instrumentation of album opener 'Caillebotis' to the absorbing oscillations of 'Shiitake' and grand gestures of the album title track, 'Reflet' is an odyssey running through troubled times, an ode to night time, to life, dreams and to all rhythms that convey emotions beyond words. Like its immersive creative process, the album offers a counterpoint and, above all, endless perspectives. Elsewhere, the pulsing, melodic 'Auburn' and entrancing electronic textures of 'Opal Sequences' continue the exploration before the strutting 'Kendama' showcases the electronic sensibilities that are buried within their productions.

Shining as a true instrumental tour de force, 'Reflet' also takes inspiration from the progress of the Ohme Collective. At the crossroads of art disciplines, science, new technologies and societal challenges, this creative community draws the future of visual arts and created the album artwork for this resolutely futuristic album.

Having initially won the opportunity to perform at the Dour Festival, Tournai back in 2016, Glass Museum have picked up a series of awards and distinctions back home in their homeland and they now find themselves dining at the top table of Europe's contemporary music scene. The international music scene opened itself to the band once again in 2019, with the duo performing at Elb Jazz in Hamburg, the legendary Ancienne Belgique in Brussels and the Iceland Airwaves Festival, Reykjavik.

In 2020, Glass Museum distinguished themselves by remixing a track for electronic artist, Rone. Having recently received a César Award for his soundtrack to the Jacques Audiard film, Les Olympiades, the French producer called on the Brussels duo's know-how - a mark of confidence which once again underlines the international reach of Glass Museum. Germany, Iceland, Turkey, Romania, Greece, France or Czech Republic have already approved Glass Museum's singular recipe.

Canadian born, Berlin based producer Aquarian debuts on Dekmantel Records’ UFO imprint with Mutations I & II, a series of two EPs following his debut album The Snake That Eats Itself and his collaborative records as AQXDM. The series marks his return to club focused solo material for the first time since 2017.

Originally written as inflection points for his typically boisterous and genre collapsing dj sets, Mutations deftly splices the foundational DNA of his earliest productions — electro, hardcore and broken beat techno – with new and vital influences.

Mutations I: Death, Taxes and Hanger finds Aquarian gleefully contorting mid-2000s dnb tearouts, wrong footed IDM and progressive trance euphoria into thrilling new shapes. Fast techno, hi-tek jazz, amphetamine-addled filter house and breakcore join the fray in Mutations II: Delicious Intent as he pushes intensity levels past breaking point. Whichever the touchstone, the results are clear: distinctly modern, highly-propulsive body music with an unapologetically emotive core.

In recent years Swedish musician Linnéa Talp has grown interested in
minimal spaces of sound, increasingly searching for her breath deep
within passages of a song when instruments gently and patiently bridge
the verses
In 2020 she released COCHLEA, a brooding pop- rock record made under the
name DEEREST. "I've been trying to work with my body, my breath and my
listening," she says of her work since finishing that release. "I wanted to integrate
a sense of slow and simple movement into the music — push/ release, forward/
backward, inhale/ exhale — everything centered around being present, translated
into sounding." That transformation is evidenced on her remarkable new album
Arch of Motion, a recording marked by exquisite patience and space.

Veyl is pleased to welcome Marco Freivogel’s Prequel Tapes for an immense 8 song release, 'The Golden Cage'. Completing an album cycle of themes and exploration which began with 2015’s 'Inner Systems', 'The Golden Cage' is perhaps Prequel Tapes’ most diverse and expansive work - utilising the artist’s own vocals for the first time and evolving his production and sound to new, uncharted dimensions.

Working off the trauma of his father’s suicide, 'The Golden Cage' was spawned from a hyper-realistic dream experience which revealed the artist’s path, catalysing new productions and techniques. The result is a striking work of unconventional electronics that journeys through rhythms, atmospheres and experimentations. A true narrative of a continuously challenging personal journey Beginning with the tension-building, free flow of 'My Turn', we then delve into grief and anger with 'I Hate You', which transforms into the pulsating tempos of 'Stranger or Lover'. The glistening nostalgia of 'Last Things' marks the halfway point before grappling with the heavy introversion of 'Alone' and devious energy of 'Mind Corner'. Nearing the end of our trip, 'Without Remission' uncovers the most dance floor tuned
piece while finally the title track closes things out with an energy that will linger long after you’ve listened.

Between the late 70s and the early 80s, pop music was in a transitional phase. After a return to the roots of punk, rock was morphing into new wave, while disco was rapidly declining and the electronic revolution, already on the rise, was ushering in the transition from analog to digital. This period also saw the emergence and relatively brief flowering of a commercially dominant style that mixed soul influences (especially Stevie Wonder and Ear th Wind & Fi re) , folk/pop songwriting and jazz sensibilities in equal measure, creating a hybrid easy on the ears but also emotionally and musically rich. It was the style represented by artists like Christopher Cross, Michael McDonald, Gino Vannelli and Kenny Loggins, who were all influenced by black music. They belonged to a larger trend that took place in all major music producing countries, including Italy where, like so many other things, the style was not merely imported or copied, but reshaped into a specifically local version based on the nation's tastes and cultural traditions. In Italy, a soulful and sophisticated approach to pop music was embraced not only by established names like Mina, Alan Sorrenti and Loredana Berté, but also, and perhaps most importantly, by an entire generation of writers, arrangers and musicians who had grown up listening to early fusion, to Steely Dan's refined recordings, and to Quincy Jones's productions. So, with this compilation we hope to give new exposure to artists and songs that, despite having moderate or little success when first released, must be regarded as among the creative peaks of Italian pop music. "Paisà Got Soul" features pop veterans Peppino Di Capri, Mario Lavezzi and Alberto Radius alongside atypical singer-songwriters (Enzo Carella, Enzo Cervo, Gino D'Eliso), Italo-disco heroes (Stefano Pulga), international hit composers (Beppe Cantarelli, who has co-written for Aretha Franklin and Mariah Carey), Brazilian-born naturalized Italians (Jim Porto) and complete unknowns (Franco Camassa, I Ricci, Massimo Stella).It brings together little gems that in most cases are no longer available on the market, or only available in their original and now very rare vinyl format. We believe they all deserve to be rediscovered today, partly because of the recently renewed interest in "yacht rock", as this music style has been retrospectively named, and partly because they provide further evidence that Italian artists rework international music styles in creative and original ways.

Compiled and conceived by David Nerattini partnered by Pierpaolo De Sanctis

BLEEP was the hype par excellence at the beginning of the techno movement in 1990/91. BLEEP – inspired by the beeping sound of small toy robots – stood for a phase of good mood and sounds that had never existed before. LFO with their groundbreaking track of the same name and Tricky Disco were two protagonists of those happy days.

More than 30 years later, Jürgen Laarmann (editor of the legendary Frontpage Magazine 89-97, promoter of Love Parade and Mayday 91-97, Bash Rec. 91-94) had the thought that nothing is missing in current electronic dance music as much as bleep.

The idea came about when discussing how to create a soundtrack for the art and techno hype of the day and the crypto art moving currenting stirring up the art market. The comeback of bleeps in a new guise is surely a tried and true remedy: the Bleep Gigaverse makes the blockchain shake.

With his old friend and Bash Records buddy Mijk van Dijk, Laarmann developed the NFT anthem with the striking Fazer bullet intro and a fat 2022 bleep that has been extensively tested on post-Corona dancefloors. Club legend Justus Köhncke (Whirlpool Productions among others) himself a big Bleep fan and Laarmann’s neighbor, contributed a house mix. Most recently, they managed to bring the great Michael Wells – the Godfather of Bleep into the Bleep Gigaverse. He contributes as Tricky Disco with all new bleeps and also with a Hardstyle mix, so the EP offers a spectrum with really different mixes.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann
BLEEP war für wenige Monate zum Beginn des Technomovements in 1990/91 der Hype schlechthin. BLEEP – angelehnt an das fiependen Sound von kleinen Spielzeugrobotern – stand für eine Phase guter Laune und Klängen, die es nie zuvor gegeben hatte. LFO mit ihrem bahnbrechenden gleichnamigen Track und Tricky Disco waren zwei Protagonisten jener glücklichen Tage.

Mehr als 30 Jahre später hatte Jürgen Laarmann (Editor des legendären Frontpage Magazins 89-97, Veranstalter von Love Parade und Mayday 91-97, Bash Rec. 91-94) den Gedanken, dass nichts der aktuellen elektronischen Dance Musik so sehr fehlt wie der Bleep.

Die Idee entstand, als man darüber diskutierte, wie man einen Soundtrack für den Kunst- und Technohype dieser Tage erschaffen könnte, jene Kryptokunst, die den Kunstmarkt aufwirbelte. Das Comeback der Bleeps in neuem Gewand ist das probate Mittel: das Bleep Gigaverse lässt die Blockchain erbeben.

Mit seinem alten Freund und Bash Records Kumpel Mijk van Dijk entwickelte Laarmann die NFT Hymne mit dem markanten Fazer-Geschoss Intro und einem fetten 2022er Bleep, der auf den Post-Corona Dancefloors ausgiebig getestet wurde. Club Legende Justus Köhncke (u.a. Whirlpool Productions), selbst großer Bleep Fan und Laarmann‘s Nachbar, steuerte einen housigen Mix bei. Zuletzt gelang es ihnen, mit dem großen Michael Wells den Godfather of Bleep ins Bleep Gigaverse zu holen. Er steuert einen NFT Tricky Disco mit ganz neuen Bleeps und einen Hardstyle Mix bei, so dass die EP ein Spektrum mit wirklich unterschiedlichen Mixen bietet.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann

After a parentship hiatus, Richard Zepezauer´s n s y d e imprint is back to push new boundaries and save some souls.

N s y d e proudly presents a next release by Skymark. It's his second full EP on the Berlin based imprint.

His Easy Saturday Night EP includes two excellent deep house jams backed with remixes by Kevin Reynolds and Mike Huckaby. The latter was previously released as a single sided limited edition.Skymark brings a bright and sun tinged house anthem on the Instrumental version of Easy Saturday Night on the A1.

The remix is in our opinion amongst Mike Huckaby's best productions. It touches the classic soulfulness of Larry Heard-style piano chords and blissful vocals combined with clear hints of Basic Channel's eternal electrifying waves. It's a perfect testament to Mike's unparalleled knowledge and wide musical range, Not only those who knew him will feel his presence while listening to this beauty.

On Insomnia, Skymark goes even deeper into deep soul territories. Pure vibes. Reworked by Detroit DJ and producer Kevin Reynolds. Made his frst appearance on nsyde back in 2011 and here he twists the original into N s y d e was founded 2011 by Richard Zepezauer.

N S Y D E will continue to bring back the family by unifying diverse artists from all angles of the electronic music familytree. N S Y D E believes in the political power of art, it brings together people.

N S Y D E does not believe in the power of political marketing of art, it divides people from each other. House Nation still under one Groove.

Early DJ support by : Antal (Rushhour), XDB, Laurent Garnier, Steffi (Ostgut), Electric Indigo, Dan Curtin etc.

The team at Diskotopia are extremely proud to present London via Tbilisi producer Sseq's debut self-titled LP. Sseq has been honing his craft over the past several years releasing music as part of the Body Thrills duo as well as DJing and playing live at Georgian clubs and festivals before making his move to the UK. Here on his stunning self-titled debut LP, Sseq materializes twelve abstracted and microcosmic jewels of interdimensional techno alchemy. The compositions bend and weave, flutter and spiral across synthetic textures and abstract rhythmic expressions that at once beguile and inspire. Sseq's sound is like an interstellar interpretation of what a sentient Buchla synth might dream of in zero gravity. RIYL Actress, Beatrice Dillon, Patten, Drexciya, Pole, and Björk-era Mark Bell productions. Sseq's debut LP was mastered by Dominic Clare at Declared Sound and will be available as a limited-edition cassette.

"We Are Power", Galaxian's first album in over a decade, cuts a new path. On this Foul-Up and Shipwrec joint release, Kastner presents a rumination on the confrontation and power clash between humankind, nature, the spiritual and mechanistic industrial growth societies. What is authentic power? What is granted power? What is innate natural power? How is power accessed, wielded, utilised, felt? On this album the blistering beats and razor-edged rhythms that characterise the Glaswegian's productions have been softened, the menace melted, the angst soothed (well almost.) Across eleven tracks, distinct audio vistas are surveyed. The human form takes centre stage from the opening monologue of "Out of Balance" with the entire record searching for balance between humankind, nature, orthodox culture & the machine. At times the machine wins. "We Are Power" is a corruption of voice, samples chopped, sliced and fed into controllers and sequencers to produce a dense decibel wall. That wall grows ever higher in the terrifying drone of "Anatomy of a Modern Lie." At other points, a perfect symmetry between artist and tool is found. The racing interchanges and pulses of "Universal Truths" give rise to dawning reprises and warmth. For those after an electro fix, Galaxian abides. The speed snares of "Messianic Delusions" or dripping drums of "Fields of Meaning" are soaked in the history of machine music, yet they are grander in their delivery and more nuanced in their composition. Fresh territories are explored, the playful solar dreams of "Without Form" or the cinematic grandeur of "In Reverse". This album is unmistakable Galaxian, it marks a high-point and brings with it a culmination of intense expression.

Mr Bongo are pleased to announce the release of a new 7" single by the duo comprised of Glenn Fallows and Mark Treffel on the 20th of May through Mr Bongo.

Following on from their debut album 'The Globeflower Masters Vol.1', we couldn't resist releasing a 45 from the duo. 'Fear Me Now' features three lush, warm and timeless productions with two brand new tracks taking inspiration from library music giants such as Hawkshaw and Bennett.

Taking inspiration from classic 60s and 70s soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani, the album was very well received upon its release and struck a chord with the scene’s connoisseurs.

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

Kinshasa, Democratic Republic of Congo - a group of street children gathered around the artist Lova Lova to form the Atelier Kamikazi and record the album "Mokili na poche" in cooperation with Oyo Projects. They are "shégués", sons of soldiers, orphans or accused of being "child sorcerers". They talk in a funny and provocative tone about the difficulties encountered in their daily lives, about rivalry, politics, sexuality, and survival. These kids know they are fucked - and they fuck back.

About Seismographic Records:

Seismographic Records is a label for global hybrid music, run by Martin Georgi (Quiet Elegance Records). «Seismo» deals with connections of local and international sounds, of cultures and epochs far apart. It wants to break through the boundaries of Western music history and focus on the unheard. On currents that have so far been excluded from algorithms and streaming services due to their lack of market relevance. This is about the localization of new trend-setting centers in the Global South. In this way «Seismo» wants to make visible the potential of a decolonized music development. Music takes on the function of a seismograph. It is a sensitive instrument to register social transformations.

The focus of the label is on the production of vinyls and their distribution on the global market. The pressing makes the projects materially tangible. The productions are preceded by a close collaboration with artists, researchers, designers, and journalists in order to explore the cultural and historical contexts of musical trends and to make them audiovisually accessible. Texts, graphics, and videos are used to illustrate the background and contextualize the music. Seismographic Records also collaborates with cultural institutions in order to provide a platform for the projects in the form of exhibitions, concerts, radio broadcasts and to anchor them in cultural discourse.

Curtis Electronix is proud to present "Destroy Your Future", the new LP from the one and only Galaxian. In the last years Mark Kastner aka Galaxian has become a prominent figure in the underground scene because of his high quality productions and his unique take on electro. We all know electro started with futurism and well, this work is pure futurism. Each cut is a trip into his restless creativity. Each track is a mind altering exploration of a deeply cinematic soundscape with a massive number of elements perfectly fused together with his "one of a kind" sci-fi aestethic that immediately pulls you out of the schemes. Caustic distortions, post industrial environments, mind expanding electronics and primitive drum patterns are only the main elements of this sci-fi masterpiece. There is no "Detroit Nostalgia" in it. This is sonic militance. The same that inspired the originators back in the days. When you play it, time runs faster and future looks closer. We are on board, but Galaxian is the only pilot of the ship.

Die dunklen und dennoch betörenden Bilder, die DARKHER alias Jayn Maiven mit ihrem schwerelosen Gesang, Gitarren und Streichern akustisch malt, beschwören cineastisch schillernde Szenen herauf, in denen Schönheit in der Dunkelheit liegt oder es zugleich vielleicht genau andersherum ist. Mit ihrem zweiten Album "The Buried Storm" gelingt es der Musikerin, Komponistin, Texterin und Produzentin ihre geliebte alchemistische Musikformel noch zu verbessern, die sie auf DARKHERs Debütalbum "Realms" aus dem Jahr 2016 fest etablieren konnte. DARKHER wurden 2012 als Soloprojekt der nordenglischen Sängerin und Gitarristin Jayn Maiven ins Leben gerufen. Der düster-melancholische, aber auch massive Sound auf ihrer selbstbetitelten Debüt-EP "Darkher" (2013) sorgte in Kombination mit der markanten Stimme der schüchternen präraffaelitischen Schönheit vor allem in der Doom-Szene für Aufsehen und führte dazu, dass bereits die folgende EP "The Kingdom Field" (2014) via Prophecy Productions erschien. Sogar ohne ein fertiges Album in der Tasche wurden DARKHER zu renommierten Festivals wie dem Roadburn in Tilburg, Niederlande, und dem Prophecy Fest in der Höhle von Balve eingeladen. Im Jahr 2016 erschien das Debütalbum "Realms", das von Fans und Kritikern gleichermaßen gelobt wurde. Die Musikpresse verglich DARKHERs Musik mit einer Vielzahl von höchst individuellen Acts wie CHELSEA WOLFE, ESBEN AND THE WITCH, SÓLSTAFIR, LOREENA MCKENNITT und PORTISHEAD. Mit "The Buried Storm" geben DARKHER der Dunkelheit eine verführerische Gestalt, die vor den Augen des Betrachters verborgen am Rande des Bewusstseins lauert, um geduldig auf ihre Zeit zu warten und dann direkt das Herz zu ergreifen.

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Very limited new repress coming, note new price. An air of the unsettled is a staple of Robert Lloyd’s career, from The Prefects’s dank dexterity and jittery paranoia of the first Nightingales’ release, Idiot Strength, onward through four decades of top-notch recordings. If the unique persona of Lloyd and crew always came across on their ten albums and countless line-ups, it was largely as an acquired taste of the musical cognoscenti. Labels good and bad seemed to feel, at one point or another, a public duty and a point of pride to release a Nightingales album before returning to the business of business. Four Against Fate is remarkable. It’s the work of what’s now the band’s longest-serving line-up. The instrumental precision of any version of Nightingales has been one of the band’s defining hallmarks, but the psychic interplay of a group can take a few albums to kick in with full majesty - here’s proof of that. The rhythm section of Fliss and Andi functions now on a purely intuitive level. Jim’s work now ranks with that of any guitarist in modern ‘rock’ music, not just in originality, but also across an egalitarian mass of inspiration. Each member sings. Although Robert’s voice functions as the band’s superego, Fliss takes lead in several songs. Few bands today sound as much like a single unit as do Nightingales, but this group has the bonus of a distinct and credible musical language, exemplified by The Desperate Quartet, which comes across as both a medieval war march and the anthem of looming apocalypse. When at the song’s halfway point, American classical musician Clara Kebabian’s violin and Mark Bedford’s (of Madness) double bass overtake the Robert, Fliss, Jim and Andi, it’s a jawdropper of such intense perversity that it alone defies the listener to not play the album again from the start. Not that this album lacks ‘hits’ - The Top Shelf, Everything Everywhere All Of The Time, Devil’s Due and The Other Side are stunners. Robert claims Four Against Fate is the first of his album on which he skips no tracks on playback! Finally, the world has awakened to one of British music’s last treasures. After forty years of new labels, this is the first time Nightingales have released an album on the same label as their last full-length.

Three fun, disco sample lead tracks from ex Southsea resident Sopp and a slammin’ remix by Inverness producer Mark Mackenzie

Sopp has been building his way into the scene since 2015. His sets blend a mix of highly energetic, bass heavy rhythms with disco inflections and odes to classic 90’s and 00’s rave scene. So far having released on Chequered Wax, QRUK, Moodygurl and TheBasement Discos. Each of his productions showing a different aspect of his behind the decks personality.

Radio play from the likes of Jamie Jones, Sarah Story, Shadow Child & Jaguar.

Selected DJ Feedback:

Jamie Jones - Digging it.

PEZNT - Whole EP is dope but I think Take Me will work for every true underground head. Great job!

Piem - Dope!!!!

Hifi Sean - This E.P is hotness !

Nathalie Capello - groooooveeeeeyy. Nice!

The Magician - I like "Living" a lot as well
Robert Owens - Cool tracks

Inland Knights - great versions....

Chrissy - nice one!

Raphael Hofman - just awesome!

Ramon Tapia - Dope pack right hurrrr!!

Ammo Avenue - wicked cuts! Take me is my fav

Mirko Paoloni - super bomb!

Round Table knights – Coolio

Oliver Dollar - nice one!

Following two stunning singles, prodigiously talented producer and composer Frederic Robinson is set to drop his debut album,
'Mixed Signals', on Blu Mar Ten Music on 14th October. The album is the culmination of over a year's work and a lifetime of musical
obsession for Robinson, comprising of a series of intricately crafted and delicately emotive tracks exploring a forward-thinking
electronic vision, which he describes as "music for the listener with a broad horizon and a short attention span'.
Over its eleven tracks, 'Mixed Signals' gives Robinson the canvas to showcase the full breadth of his talents like never before.
Amalgamating the many influences that inform his productions, from drum & bass and electronica to contemporary classical
composers, 'Mixed Signals' is a brilliantly crafted and coherent artistic statement that draws upon his talents as a classically trained
multi-instrumentalist as well as an electronic producer. Filled with light and shade, impact and intricacy, 'Mixed Signals' is much more
than a drum & bass record or a collection of club tracks; this is an album in the truest sense of the word.
"So far, this album is my biggest musical project and my greatest achievement. I worked on it for about a year and went through many
different creative phases in that time, all of which are represented somewhere on the LP. It is a summary of my current talents, skills
and interests. It marks the end for some ideas and concepts and the beginning for many others." - Frederic Robinson.
Built from a collage of acoustic and electronic elements, Robinson's music is a dense patchwork of skittering rhythms, found sound
and lush instrumentation, which harnesses a compelling emotional draw as much as it does an undeniable dance floor energy. Both
immediate and nuanced, 'Mixed Signals' is a brilliant balance of contrasts.
The sweeping drama of previous single 'Theme Park' opens the album, remaining as fresh and brilliantly unique as ever, while 'Off
Topic' and 'Bloom' featuring Stray both also provide familiar touchstones, exploring esoteric manifestations of 170 bpm's outer
possibilities. Three vocal tracks are scattered throughout the tracklist, with the soft, otherworldly tones of Melanie Robinson providing
an entry point to Robinson's world of broken percussion and wandering melodies.
Elsewhere, 'Vamp Till Ready' balances rich string orchestration against a wave of skittering percussion and 'Shut' offers an expansive
beauty in its naïve, dreamlike melodies. 'Particles' showcases an innate understanding of drum & bass constructs, warping tight
breaks and deep bass against bold blasts of colour while the eponymous track explores a playfully off-kilter and delicately nuanced
downtempo vision, before the album is played out on wave of hazy melodies and light-footed rhythms with closer 'Static Float'.
'Mixed Signals' provides the broad canvas that Robinson thrives in painting with his sprawling musical influences and complex
arrangements, and the results are phenomenal. The album is a masterpiece in dance floor escapism from a talent whose career is
undoubtedly in the ascendant.

A new hub solely for the Icelandic talent’s unreleased material, BJARKI will also serve as a platform to launch a wealth of forthcoming audiovisual projects in the coming months, with the label logo designed by Paul Nicholson, NUMBER 3, and all artwork designed by Thomas Harrington Rawle - the creative behind the Care More project. Operating and creating its own storyline with every release, intertwining projects between Harrington Rawle and Bjarki across various mediums, the imprint will also drop a series of offshoot white label releases while being reactive and unveiling random drops across its upcoming schedule. Delivering his first solo release since ‘Oli Gumm’ on трип in 2018, late-February marks the first release on the new label as he unveils his four-track ‘I Wanna Go Home’ EP.

“I want to share more of my unreleased works, especially the tracks that I have created specifically for parties in each city I play. People impact my work a lot, and I would like to share this music directly before or after the show. I don’t see any other way than to set up my own channel or label where I can share all these ideas. Next year will be a lot about sharing stuff and being in direct contact with the audience.” - Bjarki

Opening the label with authority, ‘I Wanna Go Home’ welcomes a quartet of cuts showcasing the genre-spanning polymath at his best, delivering a medley of serious yet playful productions which arc back to previous material while also looking ahead to the future. A creative force with an unrelenting swathe of experimental ideas, influences and directions, this new eponymous imprint looks set to home some of Bjarki’s finest and most unpredictable material to date.

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across 39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades: an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

THE ELECTRONIC VISIONARIES RETURN WITH THEIR NEW STUDIO
ALBUM
.On their new album 'Raum', Tangerine Dream develop the concept of its
precursor EP (Probe 6—8) further
Composed & produced with full access to Edgar Froese's Cubase arrangements
(& Otari Tape Archive with recordings from 1977-2013), Thorsten Quaeschning,
Hoshiko Yamane & Paul Frick deliver late-night real time compositions combined
with classic studio productions, sequencer driven haunting soundscapes
alternate with anthemic warm synthesizers.
Composed in a time of social distancing & cancelled shows, the tracks cannot
exactly be recreated (or will at least need significant re-instrumentation for a live
performance). With the 17-minute 'In 256 Zeichen', they lay the fundament of this
record. 'Continuum', with its repetitive sequence & broken beat shows glimpses of
acid sounds & increasing choral atmospheres. 'You Are Always On Time' is built
on PPG wavetable sounds & eerie field recordings. The title track 'Raum' makes a
nod towards the early live studio performances like 'Zeit' & 'Phaedra' - the melody
accompanied by a chorus- like Roland Jupiter 8 part. An ambient rave Moog
Minitaur sequence highlights the final peak, till the violin slowly transports the
listener out. A heavy Moog bass marks the beginning & the end of this 15-minute
piece.
'Raum' is the band's second studio album after the passing of the founder Edgar
Froese in 2015. With deep respect for the sound of the previous five decades, this
record continues in the ever-evolving pathway of Tangerine Dream.
The band will be supporting the release of 'Raum' with live shows in 2022, starting
with an extensive headline tour of the UK in March. 'Raum' will be released as a 7
track CD presented in a digipak with a 12-page booklet

Battle Axe is a Trojan compilation album that was originally released in 1972. The album is a set of early productions by Lee Perry. It features many rarities and includes recordings by well-known singers such as Junior Byles, Delroy Wilson and Little Roy amongst others. Most of the instrumentals are by The Upsetters. The title track, which is also by The Upsetters, is actually an instrumental version of Bob Marley & the Wailers’ “Small Axe”.

Battle Axe is available as a limited edition of 750 individually numbered
copies on orange coloured vinyl.

A quick introduction to the soulful recording artist Al Lindsey.

Al Lindsey was born in a small town in Gordonsville, Virginia. He moved to Detroit at the age of eleven. He found a voice for singing at the age of twelve and as a young lad at the age of fourteen he was to sing lead in the adult church choir. Al was performing in nightclubs at the tender age of sixteen.

As a Detroiter it is only reasonable he would be influenced by the sounds of Motown, with David Ruffin and Marvin Gaye as his childhood idols. Back in the day, Al was to perform with the current Four Top Lawrence Payton Jr prior to pursuing a solo career. His first recording was Always on my mind, a Northern soul classic. Followed by three albums, Al has since released his best work ever, Versatility.

In search of a new sound, he teamed with J&J2 Productions out of Saginaw. This production team consist of the dynamic father and son team, James Owens Sr and James Jr. There’s a strong message in this work, as was with Marvin Gaye’s classic “What’s Going On”. Versatility is the featured song on the cd, with it’s primary message addressing the beauty of diversity. Cotton Candy is a blazing dance track with the influence of Maze. Changed is a personal testimony, a must for his gospel fans. Midsummer Dream and Heavy Thoughts represent his trademark balladeer sound.

Al has shared the stage with some of the more prolific entertainers and musicians in the business. This soulful artist is destined for greatness.

This track got picked up on its digital release by any radio station and modern fans and a big than you must go to Mark Turner for introducing Al to MD Records.

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

Launches his own imprint with two eagerly anticipated tracks on a double A-side 12-inch, KLON001.

Following a string of EPs for Unterton under his Mark alias, KLON001 debuted during Klon’s back-to-back DJ set with Nick Höppner for the Ostgut Ton aus der Halle am Berghain stream. His previous releases on A Colourful Storm and Thomas Melchior’s label My King Is Light garnered adherents like Raresh and Ricardo Villalobos, and these new productions drop all pretence of subtlety in favour of aggressively memorable hooks.

Includes artwork insert.

Zwei Monate nach der Veröffentlichung von NEWMEN's drittem Album "Futur II" gibt es nun eine Night-Edition mit vier Remixen von Freunden und Weggefährten der "Krautpop"- Gang aus Frankfurt.

Die ursprüngliche Kollaboration "Futur I" mit Kraftwerks Ex-Roboter Wolfgang Flür wurde dabei von Italohouse-Ragazzo Fabrizio Mammarella gelasert. Cool? Always!

Running Back-Boss Gerd Janson hat "Cell" eine Frischzellenkur verpasst. Mit Synthspuren von International Feel’s Mark Barrott. Peak-Time-Nahrung für die Ausgehungerten!

Salon des Amateurs Bohème Detlef "Tolouse Low Trax" Weinrich hat eine Botschaft aus Paris geschickt und das gemacht, was er am besten kann: Genreverbiegender Postmodernismus, destilliert in einem einzigartigen Stück Musik, bei dem man sich fragt, wie lange es her ist, dass man derlei Neues gehört hat.

Und wer sich schon immer gefragt hat, wie der Prozess des Songwritings von "Futur II" funktionieren kann, findet in Martin Heimanns originaler Skizze von “Rational Landscapes” ein hervorragendes Beispiel. Jetzt mit poliertem Mix, denn die Urversion war für die Floors gemacht.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.