Cerca:mas

29.173 Seemeilen: Das ist die Distanz, die Thomas Ruyant während der Vendée Globe allein am Steuer seines Bootes um die Welt gesegelt ist. Im November 2020 nahm der Skipper mit einem innovativen Bild- und Tonaufzeichnungsgerät an dem berühmten Rennen teil. Der entstandene Film "29.173 NM" bietet ein einzigartiges Eintauchen an seiner Seite, transzendiert durch den Magnetismus und das Chaos der Naturelemente. Eine intensive Überfahrt, eine organische Reise nah am Menschen und seiner Maschine. Ein extremes Klang- und Bilderlebnis, orchestriert von Videokünstler und Komponist Molécule und Regisseur Vincent Bonnemazou. Der LP liegt eine 2K-Download-Card des Films bei.

Nice Swan präsentiert die erste physische EP der heute Londoner Musikerin Ciara Lindsey aka Kynsy, die nach ersten Singles und der Digital-EP "Things That Don't Exist" (2021) frenetische Kritiken (u.a. NME, DIY, Dork) einfuhr, in denen ihr prickelnder, ohrwurmiger Indie-Rock mit Grössen wie The Strokes und St. Vincent verglichen wurde. Kynsy wuchs in Dublin auf, einem Ort, der jahrzehntelang Schriftsteller und Künstler hervorbrachte, wie zuletzt Ciaras alte College-Freunde Fontaines D.C. und The Murder Capital.

- "Genre-hopping anthems that flaunt grit and glamour...a masterclass of channelling angst into disarming indie for a new generation." - NME

- "Kynsy’s world is one bursting with colour and brimming with authenticity." - DIY

- "Indie rock that blends hyperactive energy with neo-noir sense of style." - The Line Of Best Fit

- "Kynsy is Ireland’s indie-pop star on the rise. Such is the lightning-in-a-bottle quality of her talent." - Paste

4 Jahre sind vergangen, seit "Endless Wound" Stigmata auf der Menschheit hinterlassen hat, aber seid sicher, Black Curse werden sich jetzt noch tiefer einschneiden. Eine Platte, die wegen ihrer ekstatischen Rücksichtslosigkeit und massiven fanatischen Bösartigkeit schockieren soll. Aber das was tief unter den Kompositionen schwebt, öffnet die Türen zu einer Welt, die so unglaublich groß ist, dass man Gefahr läuft, sich in ihr zu verlieren. Und diese Tiefen entziehen sich jeglicher Exegese.

4 Flüche wurden in 4 Hymnen absoluter Todesmagie verwoben. Und diese werden einen in den schwarzen Abgrund des großen Göttlichen führen. Das Album wurde erneut vom unbestrittenen Meister Arthur Rizk produziert, der mit seiner außergewöhnlich dichten und zerstörerischen Produktion mal wieder alle Erwartungen übertrifft. "Burning in Celestial Poison" klingt, als wäre es mit dunklen magischen Formeln aus einer sehr viel tieferen Welt erschaffen. Um die Erhabenheit dieses Albums zu erkennen, müssen andere Sichtweisen und Wertigkeiten definiert werden. In dieser Welt wird es als hässlich und bedrückend gelten. Und zwar von denjenigen, die nicht in der Lage sind, sich diesen bodenlosen Abgründen hinzugeben.
Es bricht absichtlich mit allen modernen Hörgewohnheiten, vermeidet alle Regeln der Songlänge und -struktur und erzielt genau dann das beste Ergebnis, wenn es in Dunkelheit und bei maximaler Lautstärke erlebt wird.

"Burning in Celestial Poison" beginnt, mäandert und endet mit einem prophetischen Grollen, das sicherlich aus der Welt stammt, der wir uns noch stellen müssen, nämlich der Welt in Flammen.

"Ultravisitor" ist seit seinem Release im März 2004 zum Fanliebling und einem der beliebtesten Platten in Squarepushers gesamter Diskographie avanciert. Mit seiner einzigartigen Mischung aus Studio- und Live-Aufnahmen ist es gleichzeitig ein hervorragendes Beispiel für die Vielfalt seiner Musik: vom frenetischen Titeltrack über den funky Jazz von "Iambic 9 Poetry" bis zur sonnendurchfluteten Glückseligkeit von "Tommib Help Buss" und darüber hinaus.

Zum 20. Jubiläum präsentiert Warp eine erweiterte Deluxe-Version in einmaliger, limitierter Auflage, die von Jason Mitchell (Loud Mastering) unter der Ägide von Tom Jenkinson sorgfältig von den Originalbändern remastert. Tom hat die Gelegenheit genossen, die Bänder noch einmal zu überarbeiten und den Stücken neue Dynamik und Details zu verleihen.

Das beigefügte Bonusalbum "Venus No.17 Maximised" besteht aus ultra-raren Tracks einer Ultravisitor-Promo-EP, der "Square Window" 3"-CD (die bei Vorbestellungen über WarpMart gratis mitgeliefert wurde) sowie der "Venus No.17" EP (alle aus 2004). Das beiliegende Booklet enthält seltene Fotos, Flyer und Aufnahmedokumenten, darunter einer Anleitung zu allen Geräten, die Squarepusher damals verwendete.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

Das neue Album der erfahrenen Soul-Funker The Brooks, welche seit Anfang der 2010er Jahre zusammen grooven, ist eine deepe Funk-Soul-Party. Von ihren Anfängen bei Dièse Onze bis hin zu den großen internationalen Bühnen verbinden sie Spielfreude, künstlerische Freiheit und kreative Synergie. Ihre elektrisierende Musik, eine Kreuzung aus Funk, Soul, R'n'B, Afrobeat und Jazz, wird von federnden Rhythmen, extravaganten Bläsern, einfallsreichen Keyboards und betörenden Gitarren angetrieben. Ihr kommendes Album ,Soon As I Can" verspricht, ihre Grooves in neue Höhen zu treiben. Inspiriert von Legenden wie James Brown, Fela Kuti und Herbie Hancock, navigieren The Brooks nahtlos durch Funk, Soul, R'n'B, Afrobeat und Jazz und haben sich einen weltweiten Ruf als unbestreitbare Groove-Maschine erspielt. Die Gruppe ist viel mehr als die Summe ihrer Teile und zelebriert mehr als 50 Jahre afroamerikanische Musikgeschichte und -entwicklung, wobei sie ihre Wurzeln nicht aus den Augen verliert und gleichzeitig in der Gegenwart verankert bleibt.

Released in 1982, "Heart and Soul" is a collaboration between bassist Ron Carter and pianist Cedar Walton, two jazz giants renowned for their impeccable musicianship. The album showcases their exceptional interplay and deep understanding of jazz standards. Title track "Heart & Soul", "Frankie and Johnny", "Little Waltz" highlight their ability to communicate and improvise with sophistication and emotion. The album is a testament to the enduring appeal of jazz standards and the artistry of two master musicians.

Die Karriere von Devin Townsend besteht aus vielen verschiedenen Epochen. Er war der Anführer von Strapping Young Lad, der Dreh- und Angelpunkt des Devin Townsend Project und der Mitarchitekt des Country-Duos Casualties of Cool, während er gleichzeitig sein produktives und gelobtes Soloprojekt weiterführte. Jetzt beginnt die neue Ära des Universalgelehrten mit PowerNerd: ein prägnantes, aber dennoch progressives Album, das von der Liebe seines Masterminds zu Vintage-Rock aus seiner Kindheit zeugt.Von dem Moment an, in dem der Titeltrack die Platte mit dem Gebrüll "PowerNerd!" einleitet, ist Devins 28. Studioprojekt ein Galopp aus Melodie, Lärm und Gefühl. Der Opener und "Knuckledragger" sind Hochgeschwindigkeits-Amokläufe, deren Wirkung durch den charakteristischen "Wall of Sound"-Produktionsstil der Hauptfigur noch verstärkt wird. Diese Aggression ist jedoch bei weitem nicht das Einzige, was die 11 episodischen Tracks von Powernerd zu bieten haben. "Dreams of Light" ist im Vergleich dazu eine beschwörende und dynamische vierminütige Ballade. "Younger Lover" beruhigt sich nach einem explosiven Anfang zu üppigen Strophen mit Synthesizern und Gesang, während "Falling Apart" und "Jainism" eine Textur nach der anderen zu den lieblichen, akustischen Einleitungen hinzufügen. Jeder Song hat einen unwiderstehlichen Hook als Herzstück, und Devin hat zweifellos einen gefühlvollen Instant-Klassiker eines Rock-Albums geschaffen."PowerNerd" ist erhältlich als Limited 2CD+Blu-ray Artbook (inkl. Bonustracks, Dolby Atmos & High-Resolution Stereo Mixes), Ltd 2CD Digipak in O-Card (inkl. Bonustracks), Standard CD Jewelcase & Gatefold 180g LP + LP-Booklet, sowie digital in Stereo & Dolby Atmos.

Die Karriere von Devin Townsend besteht aus vielen verschiedenen Epochen. Er war der Anführer von Strapping Young Lad, der Dreh- und Angelpunkt des Devin Townsend Project und der Mitarchitekt des Country-Duos Casualties of Cool, während er gleichzeitig sein produktives und gelobtes Soloprojekt weiterführte. Jetzt beginnt die neue Ära des Universalgelehrten mit PowerNerd: ein prägnantes, aber dennoch progressives Album, das von der Liebe seines Masterminds zu Vintage-Rock aus seiner Kindheit zeugt.Von dem Moment an, in dem der Titeltrack die Platte mit dem Gebrüll "PowerNerd!" einleitet, ist Devins 28. Studioprojekt ein Galopp aus Melodie, Lärm und Gefühl. Der Opener und "Knuckledragger" sind Hochgeschwindigkeits-Amokläufe, deren Wirkung durch den charakteristischen "Wall of Sound"-Produktionsstil der Hauptfigur noch verstärkt wird. Diese Aggression ist jedoch bei weitem nicht das Einzige, was die 11 episodischen Tracks von Powernerd zu bieten haben. "Dreams of Light" ist im Vergleich dazu eine beschwörende und dynamische vierminütige Ballade. "Younger Lover" beruhigt sich nach einem explosiven Anfang zu üppigen Strophen mit Synthesizern und Gesang, während "Falling Apart" und "Jainism" eine Textur nach der anderen zu den lieblichen, akustischen Einleitungen hinzufügen. Jeder Song hat einen unwiderstehlichen Hook als Herzstück, und Devin hat zweifellos einen gefühlvollen Instant-Klassiker eines Rock-Albums geschaffen."PowerNerd" ist erhältlich als Limited 2CD+Blu-ray Artbook (inkl. Bonustracks, Dolby Atmos & High-Resolution Stereo Mixes), Ltd 2CD Digipak in O-Card (inkl. Bonustracks), Standard CD Jewelcase & Gatefold 180g LP + LP-Booklet, sowie digital in Stereo & Dolby Atmos.

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

With the writing partnership of Mogg / Schenker in fine form, these recordings feel more atmospheric and darker than previous outings. Obsession has been newly remastered from the original production tapes transfers at AIR Mastering. Obsession 2024 Remaster - Deluxe Edition: 2CD digipak with O- card deluxe version includes four rarities including a never- before- heard version of 'Cherry', the Live at The Agora Ballroom concert and poster booklet with liner notes by Michael Hann featuring interviews with Phil Mogg, Andy Parker and Michael Schenker.

"Flautist Annarella Sörlin (resident in Örebro) and ngoni master Django Diabaté (from Mali, resident in Senegal) present their exciting musical meeting, which will release its debut album “Jouer” on October 25. The duo met in the fall of 2022 when they were both on an extensive European tour with the band Wau Wau Collectif. Annarella and Django immediately discovered that the mix of their widely different instruments (Swedish flute and West African string instrument) created something special and unique. As an inventive musical play across borders and cultures.

The album will be co-released with Swedish label sing a song fighter."

Unlike most of Grant Green's many trio albums, Green Street, which was his second LP as a leader following Grant's First Stand, didn't make use of the organ or the piano, consisting instead of guitar-bass-drums format. Backed by such subtle players as Ben Tucker and Dave Bailey, Green could showcase his talents with no inhibition, making this one of the most remarkable works of his whole career. 180-GRAM COLORED BLUE VINYL - THE COMPLETE LP + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION







[f] Alone Together [Alt. Take]

Originally issued under Cannonball's name (but with both Wes Montgomery and Ray Brown mentioned on the cover), Cannonball Adderley and the Poll Winners was one of countless albums that used awards garnered by the participating musicians as a promotional tool. Of course, all of this publicity seems irrelevant now, considering that both leaders have long been consecrated as among the best jazz men ever. Both showcase a wonderful chemistry here, in their only session ever as co-leaders. 180-GRAM COLORED RED VINYL - THE COMPLETE LP + 2 BONUS TRACKS - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION




[d] Au Privave [Alt. Tk]

Heated Garage is a sonic snapshot of what happened when boundless musical energy and middle American moxie combined to create a cultural phenomenon. The tracks are drawn from a vast archive of Kay Bank master tapes - some are ultra rarities you’d be hard pressed to snatch from the collectors’ market without mortgaging a kidney. Others are alternate versions and outtakes never before released in any form! “The joke was, some bands didn’t become garage bands because it was too damn cold...you can’t go outside when it’s 25 below zero. So, a lot of people are honing their craft in their basements.” High Spirits guitarist Owen Husney explains. Knowing more about them is not only unnecessary, it would mar their mystique. They exist forever in a moment of raw rock ‘n’ roll glory that transcends time, a space shared by their Heated Garage brethren. Looking back on The Pagans’ songs, for example, Kip Sullivan says, “They feel sacred to me.” Recollecting his High Spirits adventures, Owen Husney sighs, “I would go back to those heydays in a minute.” Now he can. And we can all come along.

"Cerulean Blue vinyl limited to 700 units! On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing. Cerulean Salt follows American Weekend -- a collection of minimal acoustic-guitar pop written and recorded in a week at her family’s Birmingham home. On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostalgic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. Whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production.

At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”.

There’s plenty of American Weekend‘s introspection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret — over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date."

Neue limitierte Pink-in-Green/Colour-in-Colour Vinylauflage von "Sweet Tooth" (2022), dem dritten Album der kalifornischen Emo-Band Mom Jeans., aufgenommen in den Barber Shop Studios in New Jersey mit Produzent Brett Romnes (The Front Bottoms, Oso Oso, Dogleg). Die Band spricht von einem echten, umfassenden Studioerlebnis, das sie befähigte, ohne jegliche Abstriche ein bisher unerreichtes Maß an Feinschliff zu erreichen. Tyler Povanda (Save Face) und Kory Gregory (Prince Daddy & The Hyena) steuerten Vocals bei.

The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions of diving and fishing into his music. Historically, the sea has influenced everything from Shinto rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and flows, creating a serene yet dynamic homage to the timeless connection between Japan and the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge from within the track’s structure, eventually reaching an emotional peak without ever feeling forced. The organic nature of the arrangement creates an effortless progression that feels deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors' delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge and overlap like waves gently lapping the shore. The minimalistic arrangement allows each element to blend effortlessly into the next, creating a sense of unity and closure. The sounds move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.

"Le retour à la raison" is an ablum by Teho Teardo"s originally released in 2015. An album that brings together the music written for three Man Ray films. Not a traditional musical accompaniment but a kind of appointment in space with Man Ray. In space, music responds to only one law: truth. Here the relationship between the music and the films is perhaps the most intimate ever achieved by the composer and it is significant that it takes place with silent films in which the director cannot be present. The silent film directors are all dead, missing for decades, and must be intercepted in the cosmos, through the dreams, desires and emotional legacy of their works, like stars shining with their own light. The music is a constellation in a mysterious and seductive world and documents the experience of encountering Man Ray"s art. The project, recorded between March 2014 and May 2015 in Teardo"s Rome studio, mixed and mastered by Boris Wilsdorf at the Anderebaustelle studio in Berlin, was initially conceived for live performance. Presented at Villa Manin, the Maxxi in Rome and the Museo Nazionale del Cinema in Turin, as well as the International Arts Festival in Galway, the album also features Joachim Arbeit (Einsturzende Neubauten), Joe Lally (Fugazi) and David Coulter. The three films by Man Ray that inspired Teardo are "La Retour à la Raison" (1923), "Emak Bakia" (1926) and "L"etoile de Mer" (1928) were also screened during the concerts that followed the album release.

Als Baby Woodrose 2016 eine Pause einlegte, änderte Frontmann und Songwriter Lorenzo Woodrose seinen Namen in seinen richtigen Namen Uffe Lorenzen. Er wechselte auch in seine Muttersprache Dänisch und veröffentlichte von 2017 bis 2021 drei Soloalben. Danach gründete er ein neues Power-Trio mit seinen alten Freunden Palle Demant am Bass und Jens Eyde am Schlagzeug. Die neue Band nannte sich Lydsyn und veröffentlichte 2022 ihr selbstbetiteltes Debütalbum. Jetzt schreiben wir das Jahr 2024 und die Band ist bereit, ihr zweites Album mit dem Titel ,Hojspændt" (was man mit Hochspannung übersetzen könnte) zu veröffentlichen, und das ist sicherlich ein passender Titel. Das Album wurde im berühmten Sweet Silence Studio in Kopenhagen von dem legendären Produzenten Flemming Rasmussen aufgenommen, der sich vor allem durch seine Arbeit an den Alben ,Ride The Lightning" und ,Master Of Puppets" von Metallica einen Namen gemacht hat.Lydsyn hat sich dem analogen Hörerlebnis verschrieben. Keine Backing Tracks, Auto-Tune oder Pro-Tools und ,all der Scheiß", wie die Band es ausdrücken würde. Abgesehen von ein paar Overdubs wurden die 10 Songs live im Studio aufgenommen und das merkt man auch an der dynamischen Performance. Die Songs auf ,Hojspændt" sind noch härter als die auf dem Debütalbum, und der Hardrock-Aspekt wurde aufgedreht, während die psychedelische Seite zurückgedreht wurde. Unter all dem Gepolter haben die Songs aber auch eine eingängige Seite, die sich schon nach wenigen Durchläufen im Gehirn festsetzt. Für Fans von Monster Magnet, QOTSA, Wolfmother ,Hojspændt" wird am 25. Oktober auf Vinyl und digitalen Plattformen veröffentlicht. ,Musik Er Nummer 1" wird als erste digitale Single am 6. September veröffentlicht, begleitet von einem Live-Video, das bei zwei ausverkauften Shows im Loppen in Kopenhagen im April dieses Jahres aufgenommen wurde.

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Mere months after inflicting a massive case of Vertigo on the world, Wand ride on, plating the pre-release digi-single "Help Desk" alongside "Goldfish", a bonus dose of oceanic luminescence from Vertigo"s Big Bang. Plus, in the name of the ever-expanding universe (and the much-needed dream-extension app!), three remixes - from Beat Detectives, Dead Rider and Dean Spunt - for good measure. Not sure where you"re at? Check in with the "Help Desk".

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

‘Les Cigales’ takes its’ sonic cues from the structure of film and TV music from the 1960s and 70s, channelling the influence of film composers such as Francois de Roubaix and David Axelrod, whilst also sitting somewhere between the washed out, sun-soaked sonics of Surprise Chef and Robohands. As the EP unwinds, its narrative reflects a love story, full of longing, melancholy and drama, connecting with the story of Gyptis and Protis – the founding myth of Marseilles – whose love broke convention and welcomed the arrival of foreign people on French soil.

The project follows The Offline’s debut album ‘La couleur de la mer’, released in November 2023, which saw him create his own soundtrack to a film yet to be made. Inducing images of manorial, fog- swept villas at the seas edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. ‘Les Cigales’ sees him continue to build upon a distinctive sound that moves from dramatic cues to fragile romanticism, incorporating psychedelic spaciness, retro soul and hip-hop sensibilities informed by his extensive record collection.

A hard rock mash up - Bandleader Paul Ngozi's split album with his drummer and co-vocalist Chrissy Zebby Tembo. The set includes an oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations.

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” - New York Times

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock - in the mid-to late-70s. From that era, Zamrockís energy is matched only by the punk and hip hop scenes of England and America.

Insanely good almost completely unreleased Jazz funk LP from Roland Haynes Jr. (They released just a single 45 included here from the tapes). Think undiscovered James Mason, and you'll be half way there, even by our high standards, this LP is HUGE.

Until now, that 1983 single has been the sole material trace of both band and artist. But like many dedicated musicians who follow their own path outside of the music industry, Haynes understood his musical worth, and the quality of his band. He had documented his work at key moments, laying down carefully worked out studio sessions and recording packed-out live gigs. The recordings that we present here are drawn from Haynes' personal archive of studio recordings that were for the most part unreleased.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Das selbstbetitelte Debütalbum von Queen wird in einer neu abgemischten Fassung als ”Queen I” im Oktober veröffentlicht. Diese Neuauflage präsentiert das Album in einem völlig neuen Licht, da es von den
originalen Mehrspur-Mastern erstmalig als einziges Queen-Album neu abgemischt wurde und somit Hörern
und Fans ein völlig neues Hörerlebnis bietet .
Das Originalalbum wurde 1972 aufgenommen und im Juli 1973 durch EMI Records in Großbritannien
und Elektra in den USA veröffentlicht. Mit den Singles „Keep Yourself Alive“ und „Liar“ erreichte das
Album in Großbritannien und den USA Goldstatus und ist seither bei Queen-Fans ein Klassiker.
MARKETING TAGLINE: „Queen I: Das kultige Debütalbum - neu abgemischt, gemastert, erweitert.“
Die 6CD/1LP Collector’s Edition wird durch ein 108-seitiges, gebundenes Buch ergänzt, das eine Fundgrube seltener und bisher ungesehener Fotos, handgeschriebener Songtexte, Skizzen von Freddie Mercury
und vieles mehr enthält.

The original soundtrack to the ‘party after the party’ reaches a huge milestone with the landmark 10th edition, with over 40 tracks and remixes on the DJ mix from the likes of WhoMadeWho, Kölsch, Nina Kraviz, Scratch Massive, Oliver Koletzki, Cari Lekebusch & Joseph Capriati, ARTBAT & Dino Lenny. Full of ambient soundscapes, teutonic techno, sublime vocals, melodic breakbeats and progressive gems that all blend together for a delightfully twisted adventure.

Jon Hopkins 2nd album 'Contact Note' on standard double black vinyl. Divided in three distinct movements, 'Contact Note' slowly evolves into a deep, compelling musical experience concluding with the stunning third part where Jon masters to perfection his skills as a classically trained musician, to give his most abstract work delicate impressionist touches. Classical piano contrasts with drifting atmospheres and twisted rhythms on the dark, edgy and gripping 'Black And Red' - to culminate with the waving synths and sumptuous vocals of the blissful 'Luna Moth', the perfect end of a glorious sonic adventure.

***
Mord.
Morderstwo.
Rotterdam.
Herdersmat.
***

Limited amount of part 18 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH003. Generic black sleeve.

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

Legendary singer-songwriter Dana Gillespie, with over 70 albums to her credit in a career spanning six decades, adds a new chapter with the release of her stunning new album First Love, available on Fretsore Records. While First Love is a deeply personal album, it marks a shift for Dana who teams up with close friends Marc Almond and Tris Penna who together produced the album. Born in 1949 and raised in London in an era of unrivalled experimentation and artistic rebellion, Dana began her recording career at 15 with Pye Records. Her journey in entertainment is marked by significant milestones, including collaborations with icons such as David Bowie, Bob Dylan and Elton John. A project of refined integrity, recordings including the first single "Spent The Day In Bed" (a Morrissey song) showcase a diversity of influences that only those who have lived the experience could so masterfully convey.

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. Describing their music as "Prehistoric Techno", Why The Eye are set to release their new album ‘Inspirex’ on the 4th of October via Exag Records. Opening with the fidgety JNSP, the vindictive summons La Machine is a brash, abstract experience with a deep yearning to set us free from everyday political confinement while the raw Où cours-je explodes into a wild rage of disorder and mayhem. At the heart of each track are the DIY instruments band member DjP (Jean Paul Domb) has assembled over the years, some of them directly inspired by the African sanzas. With names such as ‘radiocaphone’ and ‘castabignettes’, the instruments are cleverly connected to different effects pedals and are the heartbeat of Why The Eye. Elsewhere, the album title track reveals a snappy rhythmic quality with skittish sounds while Prairies and Animal are tribal-like in delivery with a deep-lying punk ethosele

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.

With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.

Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Minimal wave legend Das Ding is back on Electronic Emergencies after 10 years with a stunning selection of archival tracks from retrieved tape recordings. In the early eighties, Danny Bosten got together with his friends after school in his bedroom studio, somewhere in the bleak Dutch countryside. They experimented with cheap analogue gear and made music to kill time. The sound is raunchy and slightly experimental, but already unmistakable Das Ding. New wave, early EBM and proto techno are found this album, pressed on clear vinyl. To preserve the original atmosphere and sound, the tapes received the Ruud Lekx mastering treatment.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Lyrics written by Ontto, except “Voitelu” written by Ontto & Evill

Produced by Oranssi Pazuzu
Recorded by Julius Mauranen and Niko Lehdontie
Additional recording by Juho Vanhanen and Tom Brooke
Sounds captured at E-studio, Astral Studio, Cellar of Deposition and Inner Oscillations between November 2021 and December 2023.

Mixed by Julius Mauranen at Studio Kekkonen
Premix engineering by Niko Lehdontie
Mastered by Svante Forsbäck at Chartmakers
Album artwork and layout by Jenna Haapaharju
Management by Erin Lynch, FlyingFox AB
Thank you: Mikko Männistö, Tom Brooke, Erin Lynch, Jens Prueter, Jyri Riikonen, Timo “Moit” Alatalo
Evill - grand piano, vocals, effects
Ikon - guitar, sampler, synthesizers
Jun-His - the voice, guitar
Korjak - drums
Ontto - bass guitar, synthesizers

Ewart Brown aka Cobra (later, and more prolifically known as Mad Cobra) released the Goldmine LP in 1993 for Prince Jazzbo's Ujama label. This is the first LP pressing for a collection of dubbed out versions in Jazzbo's inimitable prouction style, showcasing the talents of engineer Albert Thompson aka Junior Chemist at I&I recording studios, alongside Delroy Thompson otherwise known as the prolific mastering engineer Spiderman.

This is the forth in the massively popular Kick Four series from Good 2 Go DMR with four absolute monster Jungle Techno tracks.

Sol Power Sound returns with an EP of two blistering (and rare) island disco cuts remixed by Bosq and the Sol Power All-Stars that will make you forget that summer has come to a close. Officially licensed from the estate of Nappy Mayers, who wrote and produced both originals, both tracks capture Nappy’s exquisite sound that dominated the Trinidadian discotheques in the late 1970s and early 1980s but never received the international acclaim they deserved.

Bosq, a long-time friend of the label, leads things off on the A-side with his fiery dance floor flip of Nadie La Fond’s “Three Way Situation.” In his classic yet understated style, Bosq adds just enough, enhancing the captivating groove, while preserving the true essence and of the original. Using both vocal and dub parts Bosq turns up the funk and transforms the tune into a blistering modern disco cut that works equally well on the beach, in a dark club, or at your favorite underground afterhours.

On B1, the Sol Power All-Stars present an extended disco dub of the 1980 Nappy Mayers tune “Let Yourself Go.” The Sol Power crew opts to work with the b-side version of the original, which bypasses the lead vocal and instead focuses on the synth-bass led groove, an unforgettable chorus, and powerful disco horns. Toss in some chopped up flute, guitars, and synth and you’ve got yourself a party. And did we mention drums and perc? Don’t miss the massive soca break that will take you straight to a carnival jam in the islands.

Alongside remastered extended 12” versions of both original vocal cuts, Trini Disco Dubs highlights the genius of Nappy Mayers, a legendary Caribbean songwriter, producer, and performer, through the lens of modern producers who are at the top of their game.

2024 Repress

Medical Records releases the first full length LP in 5 years by LA's Geneva Jacuzzi. To say Jacuzzi is a multifaceted artist would be an understatement. She is well known for her uncompromisingly obtuse synth-driven pop and one-of-a-kind performance art that is comprised of one time only spectacles and installations. Her works have been presented in famous art institutions such as the Museum of Contemporary Art, MOCA and numerous other venues across the globe. She has developed a very focused cult following in the art AND music scenes. She was originally well known for her multitude of self-released home recordings but also released a full length Lamaze in 2010 on the Vinyl International to much acclaim. Not to mention her track The Sleep Room featured on The Minimal Wave Tapes Vol 2. Technophelia is the culmination of a hybrid of DIY and professional studio recordings (with the help of esteemed producer Chris Coady) that resulted in this exquisite album. Features the soon-to-be-hits I'm A TV and Cannibal Babies. Lovers of unique and left-field wave such as Gina X, Ronny, and the like will be transfixed by the raw, oozing newness of it all. All tracks recorded/performed by Geneva Jacuzzi with additional production by Chris Coady at Sunset Sound Studios. Mastered by Josh Bonati. Presented on high-quality 180gram heavyweight white vinyl.

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

Syncrophone Records unveils the sonic mastery of Johannes Volk with his thrilling new EP, "Inner Fusion." Available as a limited edition marbled 12'' vinyl, this collector's gem features four groundbreaking tracks that redefine techno.Volk guides listeners through a realm of pulsating rhythms and mesmerizing soundscapes, demonstrating his exceptional production prowess. "Inner Fusion" is an essential addition for any electronic music aficionado in search of innovative and cutting-edge sounds.

Das Debütalbum des Künstlers Andrzej Steinbach „Portal“ enthält zwei Musikstücke, „Wartehalle“ und „Behörde“, die er Anfang 2024 in Mono im Leopold-Hoesch-Museum Düren aufgenommen hat. Dafür hat Steinbach ein Objekt („Ohne Titel (Zarge aus einer ehemaligen Behörde), 2020“) aus seiner Sammlung zu einem Instrument umfunktioniert. An den metallischen Türrahmen wurde ein Kontaktmikrofon angebracht, das die Eigenschwingungen der Zarge durch einen Verstärker und einen Schallwandler in einer Feedbackschleife zurückgibt. Mit einem zwischengeschalteten Mixer war es Steinbach möglich diese Aufladungen direkt anzusteuern und den Türrahmen in einer Art „Free Industrial Jazz“ zu spielen. In situ entstanden die beiden experimentellen Tracks „Wartehalle“ und „Behörde“, deren klanglichen Charakter Waltraud Blischke u.a. so beschreibt: „Was auf Vinyl mit Glockengeläut von außen und vibrierendem Crescendo durch Schwingungen im Inneren beginnt, diffundiert bald als Feedback, verwandelt stehende Wellen in Klänge von Nebelhörnern. (...) Eine Art rudimentäre Sprache steigt über verschiedene Stimmlagen hinauf, wirkt über Distanzen hinweg drohend, mal launisch wie ein durchnässter Kontrabass, verweilt im rhythmischen, elektrostatischen Knistern, rattert wie ein Relikt frühindustrieller Maschinerie mit Schlagzeug im Gedärm.“ Und damit rüttelt auch „Portal“ – wie alle Arbeiten Steinbachs, die im Rahmen seiner Ausstellung „Unkenntliches Metall“ vom 29.9.2024 - 19.01.2025 im Leopold-Hoesch-Museum Düren gezeigt werden – an den Festschreibungen und Sicherheiten unseres durchstrukturierten Alltags.

After the success of volume 1, Stereophonk unveils the long-awaited sequel with Bunch Of Funk Vol.2. This album features 18 unreleased tracks, available for the first time on vinyl, including two never-before-released tracks created in collaboration with the talented Medline (My Bags).

DJ Marrrtin, an iconic figure in the breakdance scene, delivers a powerful and organic sound that celebrates the heritage of breakdance while reinventing it for future generations. His tracks, played at the biggest battles, competitions, and break events around the world, are a true ode to dance.

Whether solo or with his group Funky Bijou, Marrrtin drops hard-hitting breaks that set the dance floor on fire. Each track is an invitation to let loose, express your style, and showcase your best moves.

Get ready to feel the contagious energy of Bunch Of Funk Vol.2 and dance without restraint!

"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"

"The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.

‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.

The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone."

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix) Limitierte Summer Wine LP Edition

AMPUTATE präsentieren auf ihrem neuen Album "Abysmal Ascent" rohen und ehrlichen Death Metal ohne Schnickschnack.
Diese Veröffentlichung ist fast schon ein Statement für die Kunst selbst.
AMPUTATE sind mit diesem Album den konträren Weg zu vielen anderen Bands gegangen. Ihr vorheriges Konzeptalbum beschäftigte sich mit dem Thema künstliche Intelligenz, aber dieses Mal sind die Songs alle individuell und behandeln verschiedene, meist düstere Themen.

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

The Commodore Master Takes offers an amazing overview of Billie Holiday’s legendary Commodore sessions. These sessions, recorded between 1939 and 1944,

are considered by many to be Holiday’s finest recordings. The album opens with the impressive “Strange Fruit”, which was considered too controversial for its time by

other labels and became part of these sessions. The album also includes classics such as “I’ll Be Seeing You” and “As Time Goes By”.

4 tracks of filthy Acid Techno from Chris Liberator & Sam DFL, Sam DFL & Mass_Ive, Jamal, & Loczii 0n the second release on the SUF and Polands Acid
Addicts crew collaboration label JUNKYARD.

2024 Repress
The Aggrovators were one of Jamaica’s finest session bands, many of the tracks you know and love from the 70’s Reggae scene probably featured this group of musicians in some shape or form.
The band were put together by Bunny’Striker’Lee , one of Jamaica’s formidable producers, who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy’s Studio or Channel 1.
The updating of Studio 1 classic’s which in some cases were reworkings of American R&B tunes was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out.
This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better…you can’t keep a good tune down never mind a great one..
So sit back and enjoy The Aggrovators in fine Studio 1 style….RESPECT

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or MFSB. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta EGREM in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.

Meine Liebsten, ich habe ein neues Album gemacht und ich bin überglücklich. Es heißt „Addio“. Ich freue mich, euch nach so langer Zeit zeigen zu dürfen, an was ich so gearbeitet habe. Es ist wild, ich schwörs.“ Faber sagt sich somit erst einmal los von messbar gemachter Kunst, von Musik, die nicht mehr nur für sich selbst stehen darf, sondern unmittelbar spiegelt, wie massenkompatibel sie ist. Faber hat seine Gedanken frei gemacht, die neuen Lieder werden es ebenfalls bald sein. Kommt mit!

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

Originally appearing on the Raven label in 1988, Time Keeps Moving On constituted Rick Clarke's first LP following his work in the earlier eighties as part of brit-funk groups Potion and Side On, and solo output including Love with a Stranger (released on The Specials' Ghost Town's producer John Collins' Local Records imprint) and a few singles for RCA. Largely co-written and co-produced with Peter Hinds (Take Three, Atmosfear, Light of the World) and a guest turn from Master T aka Toyin Agbetu - this is foundational street soul that appeared at a time when the likes of Loose Ends were starting to break through to the US, and Soul II Soul just emerging.

5, the fifth installment of the mixtape series that propelled her to stardom - a journey that began over a decade ago with the release of the first Winter’s Diary. This follows the release of her 2023 masterpiece, Thanks 4 Nothing, which was executive produced by Hitmaka. Thanks 4 Nothing has garnered over 160 million streams, and received accolades from virtually every major publication, including receiving a 7.6 rating by Pitchfork and gracing the cover of Galore Magazine. She followed up with her Thanks 4 Everything North American tour where she delivered an unforgettable performance of hits from her previous albums as well as the new project. In addition to new music coming this year, Tink will also be joining Jhene Aiko on The Magic Hour arena tour, spanning 27 cities. While all of this success may be a surprise to some, Tink and her day ones know how hard she has been grinding for this moment and how deserved it is. An album over 6 years in the making, Winter’s Diary 5 is finally here, and it’s about to be a cold winter.

Gerry Mulligan mit der Night Lights Band auf Europatournee 1959. Das großartige Quartett besteht aus Gerry Mulligan am Baritonsaxophon und Klavier, Art Farmer an der Trompete, Bill Crow am Bass und Dave Bailey am Schlagzeug. Die Band war auf dem Höhepunkt ihres Könnens, und diese atemberaubenden Aufnahmen trugen entscheidend dazu bei, Mulligans Band als eine der angesagtesten Bands jener Zeit zu bestätigen.

In Zusammenarbeit mit dem Swedish National Radio Archive und dem Gerry Mulligan Estate ist es uns gelungen, die Original-Masterbänder im Tresor von Sveriges Radio ausfindig zu machen und sie Kevin Gray zur Verfügung zu stellen, der mit seiner gewohnten Magie beim Mastering und Editing diesen bisher unveröffentlichten Aufnahmen eine unglaubliche klangliche Bandbreite verliehen hat. Das neu gestaltete Cover wurde von Two To Tango entworfen, die regelmäßig mit New Land zusammenarbeiten, und bietet einen großartigen modernistischen Look.

Hergestellt bei Pallas und gedruckt auf 180g Vinyl im Reverse-Board-Sleeve, ist dies eine wichtige Ergänzung für jede Sammlung. Der Baritonsaxophonist Gerry Mulligan war eine wahre Ikone des Jazz und von den 1950er Jahren bis zu seinem Tod 1996 eine der herausragenden Persönlichkeiten der Westcoast-Szene. Mulligan, der vom Downbeat Magazine 42 Jahre in Folge zur Nummer eins auf seinem Instrument gewählt wurde, war einer der wichtigsten Musiker seiner Zeit und ein Aushängeschild, das den Sound des Jazz mitgeprägt hat. Gerry Mulligan spielte sowohl in der Miles Davis Formation der Birth Of The Cool-Ära als auch im pianolosen Quartett mit Chet Baker und war immer an vorderster Front, wenn es darum ging, was in Amerikas einzig wahrer Kunstform angesagt war und ist.

BLIND EGO ist zurück! Der Gitarrist der deutschen Vorzeige-Artrock-Band RPWL Kalle Wallner hat sein Versprechen wahr gemacht und ein neues Album aufgenommen. "The Hunting Party" drückt im Vergleich zu seiner Hauptband RPWL das Pedal deutlich zugunsten von Rock- und Metal-Elementen durch. Seit dem Debut aus dem Jahre 2007 ist der neue Longplayer bereits sein fünftes Studio-Album. Dazu erschien 2017 ein Live-Album und 2022 sein "beinahe-Instrumental"-Album "Voices" unter eigenem Namen. Wallner scheinen die Ideen und die Lust am Produzieren nicht auszugehen - trotz seiner Hauptband RPWL, dem eigenem Label Gentle Art Of Music, seinem Tonstudio und vielen weiteren Projekten als Produzent und Gitarrist. Dabei stand die Tour des letzten Albums 'Preaching To The Choir' unter keinem guten Stern. Für viele Fans waren diese Konzerte im Frühling 2020 die letzten unmittelbar vor dem Corona-Lockdown und für viele Monate die letzten Konzert-Erlebnisse. Zum großartigen Gesamteindruck des Albums trägt neben Wallners außergewöhnlichem und markantem Gitarrenspiel vor allem der talentierte und erstklassige Sänger Kevin Kearns bei. Kearns, der bei seiner eigenen Metalcore-Band Cyant normalerweise ganz andere Töne anschlägt, entpuppt sich als Idealbesetzung: er interpretiert die Songs auf 'The Hunting Party' ganz besonders emotional, nimmt einen durch alle leisen und lauten Passagen mit - mal schnörkellos, mal filigran, aber immer höchst ausdrucksstark und voller Energie strotzend.?Dazu gesellen sich erneut Ausnahme-Drummer Michael Christoph und Wallners langjähriger musikalischer Weggefährte Yogi Lang (RPWL), der dem Album nicht nur als Mitproduzent und Keyboarder seinen Stempel aufdrückt, sondern sich auch für den glasklaren Mix und das Mastering verantwortlich zeigt.
Kevin Kearns führt hier den Hörer atemberaubend durch alle emotionalen Höhen und Tiefen, ehe die Wogen ruhiger werden und der längste Song des Albums mit einen wunderschönen Gitarren-Solo schließt. Nicht zuletzt wegen solcher Soli fällt einem bei Wallner sehr schnell der Vergleich zur Pink Floyd-Ikone David Gilmour ein. Dieser zentrale Song umfasst sehr gut dieses emotionale und abwechslungsreiche Album.

Line-up:
Kalle Wallner - guitars, bass, keyboards, programming
Kevin Kearns - vocals
Yogi Lang - keyboards
Michael Christoph - drums

High Roller Records, black vinyl, ltd 150, lyric sheet, A5 photo card, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in May 2016

High Roller Records, Galaxy Vinyl, 425gsm heavy cardboard cover, insert

High Roller Records, Galaxy Vinyl, 425gsm heavy cardboard cover, insert

Masterminded by the prolific collaborators The Fattoruso Brothers, Airto Moreira, and Hermeto Pascoal, Opa’s Goldenwings a latin-jazz-fusion extravaganza that weaves a sonic world that lives at the intersection of lush three-part vocal harmonies, tender flute solos, pulsating percussions, and robust synth textures. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

High Roller Records, Grey/ Red Mixed Vinyl, 425gsm heavy cardboard cover, 2 inserts, poster, A5 card

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster