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Oh YASS! A GOSPEL inspired album recorded in January 97 with guest MR QUINTRON on Hammond church organ & piano! 5 originals plus 3 covers of OLD gospel traditionals AND a stormin' cover of YOUNG JESSE's "Mary Lou"!

Tape Runs Out's debut album, Floodhead On 180GSM, River Green Vinyl, with beautiful matt varnish artwork, Green vinyl strictly limited run of 350 ,. Floodhead is an exploratory sonic journey from the mind and soul of long-time band leader, Liam Goodrum-Bell (guitar, vocals). Tape Runs Out’s experimental sound comes in part from their excellent array of instrumentation - the band members bring violin (Clare Myerscough) and the hammered dulcimer (Ellie Winter), as well as bass (Takeshi Kanemoto) and drums (Laurence Moore). Recorded and produced by Liam and Dan Dawson (band’s guitarist) at Dan’s home studio over the course of a year, the album thrives off experimenting with different textures and sounds, with each song seeking to be its own microcosm of creativity, delivering its unique part within the whole. The painstaking detail and time spent by Liam and Dan between the initial recording session during the summers of 2021 and 2022 has resulted in an incredible production, and one that takes the listener through the Tape Runs Out universe. The first single from Floodhead, Souvenir made God is in the TV's track of the week and was heaped praise on by Steve Lamacq on his BBC 6 Music afternoon show and new music fix.

LORI finds Iron & Wine’s Sam Beam drawing from the songbook of noted singer-songwriter and multiple Grammy winner Lori McKenna. Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang, Beam takes on four of his favorite McKenna tracks with help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme.) Beam came to McKenna’s music a few years ago on the suggestion of a friend. As the lock down dragged on, Beam found himself, like so many, turning to music for comfort. McKenna’s catalog of work was never far from reach. Taken by her heart-on-your-sleeve confessional style storytelling, Beam admits it’s a trait that draws him to McKenna and something not often found in his own songwriting. As a well-known interpreter of other artists’ songs, when the time came for him to shake off the pandemic cobwebs and record, McKenna’s songs were as fresh and familiar to Beam as his own. Traveling to Memphis in March of 2021, Beam invited Cunningham and Stewart to join him in the studio. During the three days of recording, Ross-Spang was a logical choice to take the helm as he had handled Iron & Wine’s 2019 collaboration with Calexico, the twice Grammy nominated Years to Burn, and had also worked on two of McKenna’s own records. Having enjoyed successful solo careers outside of Finom, Cunningham and Stewart bring their own touches to LORI and helped Beam find even further depths to McKenna’s songwriting. Together the trio sonically re-interpreted her plaintive odes into a tapestry of sounds effortlessly blending their signature singing styles and breathing fresh life into the lyrics

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

Daddario debuts at Ragoo Records with the 'Quinto Quarto' EP, a record that fuses beatmaking attitude with funk, disco and electro vibes. 'Quinto Quarto', which means entrails in Italian, is the result of his deep research about roots. From the broken funk of 'Shift' to the heavy percussions of 'Space Lou', each track is full of grooves and details that showcase Daddario's skills on the MPC as well as on synthesizers. The project is enriched by collaborations with percussionist JZP, guitarist Lorenzo Mantovani, bassist Michele Freguglia, trumpeter Matteo Pontegavelli, and two remixes from Astratto and The Mechanical Man.

Sometimes, a change of view can transform a person’s world. On ‘Don’t Come Down’, the artist formerly known as Matt Pond PA can be found with his “shoulder on the concrete” of a pavement, scoping out the world anew. This granular realignment of perspective serves as an open door to the debut album from The Natural Lines. At once clearly Pond’s work yet a huge leap forward in its measured songcraft, melodic immediacy, collaborative detail and wryly questioning lyrics, the result is a gorgeous album of intimate reflections from a relocated, renamed, revivified talent.

Recorded with close collaborators and friends over a period that saw Pond make vital adjustments to his life, its stealth emergence reflects his desire to set a fresh pace for himself and come from somewhere new, somewhere more open.

Now based in Kingston, New York, with his partner and wild dog Willa, Matt explains the album’s gestation thus. “It was something different from the start. I wanted to write as purely as I could. Instead of getting stuck in the ‘tour, write an album, release an album, tour’ cycle, which is not a natural way of writing or living, I wanted to write an album and when it was done I wanted to make sure it was done. I didn’t want this feeling of, ‘Oh, we didn’t have time’, or, ‘I don’t know whether I believe in the songs but it’s coming out anyway.’ I used to be always racing to the finish line, but I’m not anymore.”

For Matt, the call to ring the changes came with the recognition of “a certain nihilism or narcissism” involved in making music. “In some ways, you have to get in your own head and I think I went too far with that, with drinking and shutting people out. In something that I believe is collaborative, it’s not helpful.”

“I quit lying,” he adds. “I checked my harsher tones. I cut my drinking down. I went to therapy and figured out how to stop shouting at cars.”

Car troubles inspire ‘No More Tragedies’, the album’s standout second track, where he wryly details his desire to dampen his twinned impulses to take pictures of license plates blocking his parking space or take bricks to said car windshields. Warming melodies and harmonies soothe his rage, a balance maintained elsewhere on the album.

A need for connection underpins the lilting ‘Alex Bell’, where Matt’s lyrics playfully reference the inventor of the telephone over a plaintive cello and bubbling keyboards – evidence of the album’s carefully nurtured arrangements. With nimble sequencing, ‘My Answer’ follows with a question: do artists really need to get messed-up to create? Matt may not have the answer, he admits, but he articulates the question beautifully, channelling the influence of Blue Öyster Cult’s ‘Don’t Fear The Reaper’ into a song of fleet, melodic electric-folk drive.

Featuring 17-year-old MJ Murphy on misty backing vocals, the softly insistent ‘Don’t Come Down’ is an album centrepiece, detailing a need to see things anew. Like The Flaming Lips writing a classicist piano ballad, the twinkling ‘Artificial Moonlight’ finds Matt writing late at night, illuminated by the lights from streetlamps. Finally, ‘Mahwah’ closes the album on a note of arrival. While Matt Pond PA’s albums emerged from the disconnection of touring and living in vans, Pond is now happily – cruel winters aside – ensconced in Kingston. “I have found a place I love. Mercury Rev lives near here. It is a cool place to be, an artistic, mountainous, wild place to live. So – maybe this is it.”

In the case of The Natural Lines, a sense of arrival suggests itself. For Matt, the album follows two decades’ worth of Matt Pond PA records and soundtrack works. In a career he once described as “a series of benign mistakes,” Matt travelled far, moving from his band’s starting point in Philadelphia to Florida, Oakland and beyond while releasing 14 well-received albums. In 2017, he declared his intent to retire the Matt Pond PA name, though it lived on briefly in the reissue of The State Of Gold and EPs such as Free Fall, a tribute to Philadelphia.

Now, the name change honours his collaborators. Among a revolving cast, one constant presence in his work has been Chris Hansen, who plays guitar, bass, keys, saxophone and vocals on The Natural Lines’ debut. Matt’s partner, Anya Marina, contributes vocals. Other band members number Hilary James (cello/vocals), Kyle Kelly-Yahner (drums), Louie Lino (keys), Sarah Hansen (horns), Sean Hansen (drums/bass), Kat Murphy (vocals) and, also on vocals, MJ Murphy, for whom Matt brims with praise: “She can do anything she wants to musically.”

A heartening rebirth for Pond and his friends, the result also pays warming, witty, reflective and infectious testimony to the value of reconfiguring one’s outlook. “Once I took control of my mind, I could see what I wanted to say more clearly,” says Matt. “Instead of random floods of mania and panic, I felt like I was composed and composing. It has become as simple as reading the words of a sentence in the right order. As small as the pause before I hit ‘send’.” A development, you might say, conducted along the most natural of lines.

140G

- Limited Edition auf 2023 Stück weltweit, handnummeriert zum 10-jährigen Jubiläum! Die 2LP erscheint im transparenten Vinyl (crystal clear), die Bonus 7inch im schwarzen Vinyl inkl. Gatefold Sleeve!

2013 verblüffte DJ Koze die Menschheit mit seinem zeitlosen Meisterwerk `Amygdala´, einem Album voller psychedelischer Strahlkraft, Tiefe und magischen Klangwelten, in denen es auch nach 10 Jahren Dauerschleife immer noch neue Nuancen zu entdecken gibt. Dieses Jubiläum feiern wir nun mit einer gnadenlos limitierten Coloured Vinyl Edition. Schnell Warenkorb Patsche Patsche machen!

180 g, Side D etched, matte UV Poster, Trifold Jacket, red foil debossed "D"&"M", Poster

"Memento Mori" stellt Depeche Modes insgesamt 15. Studioalbum dar, während Gahan und Gore nach dem tragischen Tod von Bandmitgründer Andrew "Fletch" Fletcher im Jahr 2022 den ersten Longplayer in zweiköpfiger Besetzung vorlegen. Produziert von James Ford mit Unterstützung von Marta Salogni reifte "Memento Mori" während der Frühphase der weltweiten Covid-Pandemie heran; eine Periode, die auch einen thematischen Einfluss auf die Songs hatte. Die 12 Albumtracks schlagen die Brücke zwischen einer Vielzahl von Stimmungen und musikalischen Texturen - angefangen beim bedrohlichen Opener bis zur Auflösung am Schluss spannt sich das Gefühlsspektrum von Paranoia und Besessenheit bis hin zu psychischer Befreiung und Freude sowie zahllosen emotionalen Zwischentönen. Mit der Single "Ghosts Again" geht der Albumveröffentlichung von "Memento Mori" ein eindrucksvoller Vorbote voraus. Der Song stellt schon jetzt nicht weniger als einen lupenreinen Depeche Mode-Klassiker dar: Dave Gahans bilderstarke Lyrics wie "wasted feelings, broken meanings... a place to hide the tears we cry" verbinden sich über einem erhebenden, optimistischen Groove mit einer hypnotischen Gitarrenfigur von Martin Gore. "Für mich fängt `Ghosts Again` das perfekte Gleichgewicht zwischen Melancholie und Freude ein", so Gahan. "Es kommt nicht allzu oft vor, dass wir einen Song aufnehmen, den ich mir nicht nur immer und immer wieder anhören kann - ich freue mich auch riesig, ihn mit der Welt teilen zu dürfen", ergänzt Gore.

The highly-anticipated third studio album from critically-acclaimed singer-songwriter Greyson Chance, released through Lowly. Available on black vinyl with gatefold sleeve, featuring "My Dying Spirit”, “Homerun Hitter,” "Athena" & more.

“The album comprises three acts," says Chance. "The first one is rebuilding and growth. The second is absolute pride. The third is a realization. Life will kick you in the ass no matter what happens. It feels timid at points, but there are big confident moments. At the end, the hero falls down a few pegs. I’ve been writing my own songs since I was a kid, and that’s the story behind it.”

Nach fünf langen Jahren seit ihrer letzten Veröffentlichung sind die finnischen Metaller Suotana mit ihrem neuen Album ''Ounas I'', das am 17. März 2023 erscheinen soll, aus dem ewigen Eis erwacht!

Diese Full-Length-Veröffentlichung ist eine epische Fortsetzung
der Reise, die der Vorgänger ''Land of the Ending Time'' im Jahr 2018 begann, und katapultiert die Band zu einem neuen Höhepunkt.

''Ounas I'' enthält 41 eisige Minuten Musik, darunter fünf brandneue Suotana-Tracks und eine "suotanisierte" Version von Summonings "Land of the Dead".

Musikalisch führt das Album neue Nuancen ein, bleibt aber fest im vertrauten SuotanaSound verankert, einschließlich melodischem Death Metal, melodischem Black Metal und einer Prise Power Metal.

Die bemerkenswertesten Unterschiede sind die Gäste auf dem Album. Keyboarder Veli-Matti Kananen (Kalmah) und Sängerin Mora steuern
ihre eigenen Talente bei.

Steve Gunn has always had one foot in indie rock and the other in an expansive improvisational scene. His songwriter albums alternate with freewheeling jams, most notably in his Gunn-Truscinski Duo, but are not confined to that. So when Gunn decided to revisit Other You, it made sense that he brought in some guests from the far side of the commercial/experimental spectrum to reimagine his songs. Nakama presents five tracks from that last album, reshaped by artists that Gunn admires. The process loosens the songs up considerably.

To start, he calls in Mdou Moctar’s backing band (the American bassist Mikey Coltun and the other guitarist Ahmoudou Madassane) for “Protection.” The song already had a bit of blues-y swagger to it, with sharper-edged guitar rhythms also heard on the ultra-smooth Other You, but here the heat has an otherworldly desert sheen. Its caravan-traveling rhythm sways from side to side, digging in to to the upbeats in a way that is both kinetic and also hypnotically still. There’s some crowd noise in the background, the knot of people that regularly forms when Mdou and his compatriots plug in from Agadez, and a few mournful afro-blues licks arcing off the vamp. But mostly it’s a cut that reminds you how much African guitar music Gunn has absorbed (listen to “Tommy’s Congo” from Way Out Weather for proof), and how well it fits with what he does.

Gunn also brings in Circuit Des Yeux’s Haley Fohr to reconfigure “Ever Feel That Way,” and she sets the song’s drifting melancholy amid pensive minor-key piano chords. She strips back the ambient whoosh that surrounds the original, slows down the pace and presents the song in startling, unadorned clarity. Her version removes some of the sticky, over-prettiness that I found so distracting in Other You. The melody is better, purer and more focused without the frills. There is also an electronic remake of “Reflection” from David Moore’s ambient ensemble Bing and Ruth, which traps Gunn’s fragile vocals in a shivering palace of synthetic tones. It’s enjoyable in its way, but the two sensibilities never quite meld together.

The best part comes when Gunn joins forces with Joshua Abrams’ Natural Information Society in remakes of “Good Wind” and “On the Way.” The former is a matter of subtle differences: the gentle pitch and roll under Gunn’s voice, the intermittent liquid runs of bass between widely spaced phrases. Abrams and his crew open up the jazz-leaning, reiterative possibilities under Gunn’s song, but they don’t change it fundamentally. “On the Way” is even stronger, a glowing drone and a pattern of hand drums enveloping the melody. It makes the music seem more spiritual, more resonant, more deep and full of mysteries. It was striking enough that I had to go back to Other You to hear again an album that had left me cold. This new version of “On the Way” didn’t change that chill, but it gave me an idea of how strong the songs might have sounded in another setting. (by Jennifer Kelly)

Dass Jeff Goldblum nicht nur als Schauspieler Hollywood-Blockbuster veredeln, sondern auch als Jazzpianist glänzen kann, haben seine beiden erfolgreichen Decca-Alben aus den Jahren 2018 und 2019 bewiesen.

Seine ins Ohr gehende Mischung aus Cool Jazz, Swing und Entertainment macht Laune und versetzt den Hörer in eine virtuelle Cocktail-Lounge der Sixties.

Goldblums Erfolgsrezept sind auch immer seine musikalischen Gäste. Auf seiner neuen 6-Track-EP (Vinyl + digital) ist er nicht nur wieder mit seinem coolen Mildred Snitzer Orchestra zu hören, sondern hat sich
erneut interessante Gastsänger/innen eingeladen. Auf „Moon River“ ist Mattiel Brown vom Indie-RockDuo Mattiel zu hören, auf „Don’t Fence Me In“ die amerikanische Grammy-Gewinnerin Kelly Clarkson,
den entspannten Song „I Wanna Be Around“ versüßt der brasilianische Singer-Songwriter Rodrigo Amarante und den sinnlichen Track „Lazy Afternoon“ pfeffert Soul/Jazz-Legende Freda Payne.
Auf den beiden Instrumentals der EP kann sich Goldblum dafür umso mehr als swingender Pianist austoben.

It seems like an age since Icelandic producer Adalsteinn Gudmundsson's last album as Yagya, 2020's "Old Dreams and Memories." The first album to be released on his own label Small Plastic Animals it was followed by the four-track "Always Maybe Tomorrow" EP in 2021. "Faded Photographs" is his ninth studio album, the most involved and time-consuming project to date and collaborative on a scale not seen since 2012's "The Inescapable Decay of My Heart." It also marks an exceptionally confident return to the art of song-writing, but where that earlier album was a more upbeat dub techno-pop affair, "Faded Photographs" is nostalgic, wistful, reflective and steeped in poetic romanticism. Gudmundsson's love of the art of the album is also more pronounced here than ever before, almost every single track tied together by the particularly unifying use of triplet rhythms in combination with 4/4 beats, beguiling hushed vocals and enveloping, molten dub bass tones. Combined with a typical dedication to sound design and production, "Faded Photographs" is rendered an utterly seamless experience, demanding to be heard as a whole. Written and produced when we had become more distant and disconnected from one another than ever before, "Faded Photographs" brings together and showcases an ensemble of artists in a spirit of collaboration that flies in the face of adversity, a true product of its time.

You reach a point in life where the question of how to stay at the top of your game looms; the only real solution being, you change the game. Our Love, the new album from Caribou, is the sound of Dan Snaith doing just that. Our Love is due October 6th on City Slang and is the sixth studio album from Caribou. The album features collaborations with Jessy Lanza and Owen Pallett. It was mixed by David Wrench and features artwork by Jason Evans/ Matthew Cooper.

Our Love is formed around a mixture of digital pop production, hip hop inspired beats, muted house basslines and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart which are, of course, all filtered through Dan's own unique perspective. The warm analogue sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the records DNA. In fact, Our Love is probably Caribou's most soulful record to date, chock-full of heartfelt lyrics and organic nature which cuts through bubbling synths and blissful euphoria of their synthetic constructions. It's not all downbeat of course, whilst some thoughts linger on mortality, loss and letting go, there is always an element of celebration.

Having followed up his Polaris Prize winning 2007 record Andorra with the universally adored Swim in 2010 (selling nearly 175, 000 copies worldwide and being named 'Album of the Year' by Rough Trade, Mixmag and Resident Advisor whilst also hitting The Guardian, Pitchfork, Spin and Mojo's Top 20), Dan has spent the intervening four years not only touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ with epic 7.5 hour long sets. In 2012 Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dance floor loving pseudonym, Daphni, to widespread critical acclaim. Following the shape shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim - both inward looking records in their own way - Dan withdrew to the basement once more to work on Caribou's next opus. Only he didn't: Our Love isn't the sound of isolated creation but the sound of Dan at his most connected - with love for his listeners, his collaborators and those closest to him.

Elton John veröffentlicht im März sein Album ”Honky Château” erneut. Honky Château brachte eine neue Ebene der Einfachheit und Direktheit in Eltons Musik, die zuvor nur angedeutet worden war. Ohne die Komplexität und die kunstvollen Orchestrierungen seiner letzten Werke wirkte Honky Château frei und intim. Dazu trug auch Rocket Man bei, die Platte, die zu einem weiteren von Eltons charakteristischen Songs wurde.
Diese Sonderausgabe enthält das Originalalbum und, sowohl auf Vinyl als auch auf CD, eine neu zusammengestellte Auswahl von Outtakes aus den Sessions, die von Matt Still anhand der Originalbänder produziert wurden und die Wärme und den Humor der Sessions unterstreichen.

Nur auf der CD befinden sich acht Titel des Albums, die 1972 in der Royal Festival Hall aufgenommen wurden und nur wenige Tage nach den Aufnahmen in Großbritannien ihr Live-Debüt gaben. Dazu gibt es ein achtseitiges Booklet mit seltenen Fotos, Erinnerungsstücken und einem Essay von Co-Kurator und Musikautor Daryl Easlea, der Interviews mit denjenigen geführt hat, die dabei waren.

This second collection of edits from Italy's matter-of-fact Edits Collection label offers another quarter of superbly feel-good disco sounds. 'Slow Luv' has lush strings and plenty of Philly vibes, while 'Stranger Beat' layers up the jumbled percussion, sliding hi-hats and funky bass. Flip it over for 'Xpress Yourself' which is sure to weave its way into your soul with its hip-shaking groove and more funky bass frets than you know what to do with. 'Xpress Yourbeats' is a more raw and drum focused sound for amping up those energy levels on the floor.

New London based quartet Qwalia, led by drummer Yusuf Ahmed, offer a plethora of influences whilst remaining resolutely itself. Assembled from musicians who play with David Byrne, Joy Crookes, Nubiyan Twist, Frank Ocean, Jordan Rakei, Sampha, Cat Stevens and more; Yusuf is joined by Tal Janes on guitars and vocals, Ben Reed on bass and keyboardist Joseph Costi. Qwalia’s debut album ‘Sound And Reason’ is set for release by Alberts Favourites on 24th March 2023.
The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.
In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.
“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”
The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.
Early support from Mary Anne Hobbs and Gilles Peterson, support to come from Huey Morgan, Cerys Matthews.

"In the closed circuit screen glow with the hand scripting the events of two people staring from a long distance for a matter of moments that seemed endless, vast, the pen takes to paper and senses apprehension in the author. Leaving things out from the self, the self knows the truth is well-guarded, security and a large key ring with one thumb-drive filled with secrets carefully placed beneath a granite prism, buried in brain cells and matter. Everything left unsaid is sacred and that sacrament is gold-leafed and stoic, crackling voicemail recording leaves out details, nearly telegrammed, a post-it's worth of vital information. We keep secrets to ourselves so tightly that we hide the secret from the self. Speak the truth, the closed circuit surveillance will manage the details."

Slow Meadow is ambient compositions from multi-instrumentalist Matt Kidd. After working as a touring / session musician since the early 2000s, Matt took a serious interest in creating music focused less on performance and more on inner experience. Slow Meadow began when Kidd befriended Marc Byrd of Hammock, who signed Slow Meadow to his label, Hammock Music, and released his debut in 2015. Available for the first time on vinyl, Singles Vol. 1 features a collection of nine Slow Meadow singles recorded between 2016-2018, containing some of the Houston multi-instrumentalist's most popular pieces. To connect these compositions, new segues/crossfades were written from song to song in both the vinyl and digital versions, allowing the pieces to be experienced in one cohesive and harmonious flow.

As the momentum continues to build for old-school blues rock trio GA-20, the band takes their expanding fanbase by storm with the release its first full-length live LP, Live In Loveland!. Featuring 11 rowdy, blistering performances (including five songs from 2022's Crackdown, three from their 2019 debut Lonely Soul and three previously unrecorded tracks), Live In Loveland! captures GA-20 feeding off the energy of the wall-to-wall crowd and delivering each song with raw emotion and body-shaking force. Live In Loveland! mixes band originals and vintage covers, from early electric blues and honky-tonk country to proto rock 'n' roll, all performed live with deep feeling and punk energy. The album was recorded direct-to-tape on a vintage Tascam 388 at Plaid Room Records in Loveland, Ohio, home of the famous Colemine record label. Produced by Stubbs and engineered by Colemine owner Terry Cole, the band blasts out of the gate playing Harold Burrages' I Cry For You, before tearing into Little Walter's obscure gem My Baby's Sweeter. The previously unrecorded original Hold It One More Time proves to be an instant classic, sitting seamlessly next to the vintage covers on the album. According to guitarist Matthew Stubbs (whose resume includes playing with blues legends Charlie Musselwhite and James Cotton, among others), "There is a special type of energy that is exchanged when we play in front of a live audience, and we definitely feed off of that and wanted to capture that. I love the power and energy of the best live blues albums. Historically, some of the most iconic blues and jazz records have been live ones. B.B. King's Live At The Regal changed my life. So did Hound Dog Taylor's Beware Of The Dog!, and Albert King's Live Wire/Blues Power. We really wanted to continue that tradition and do one of our own."

The Legendary album ‘From Mars to Sirius’ put GOJIRA on the path to Worldwide stardom. Almost 18 years , 72 seasons later, this classic album is still a massively Heavy Monster !. It is a concept album addressing environmental issues and the rebirth of a dead planet through a space travel storyline, with the underlying theme of a transition from war to peace. From Mars to Sirius was released in 2005 to critical acclaim. It has since been ranked amongst the Rolling Stone's 100 Greatest Metal Albums of All Time. (wikipedia) A first run of 2000 copies of this double pic disc are being made .

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘End Times’, ‘Hombre Lobo’ and ‘Tomorrow Morning’, released via E Works / PIAS.
EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed
2022 record, ‘Extreme Witchcraft’, which found
praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘Hombre Lobo’,
‘End Times’ and ‘Tomorrow Morning’, released via
E Works / PIAS. EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and
North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed 2022 record, ‘Extreme Witchcraft’, which found praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

Sniffany & The Nits are a deranged, genuinely troubling punk band
from London featuring members of Joanna Gruesome, Ex-Void and
The Tubs. Their debut album, ‘The Unscratchable Itch’, is released
via PRAH Recordings.
Drawing a through line between the British post-punk of The Fall and
the new wave of insolent hardcore typified by bands like Lumpy &
The Dumpers, The Nits have developed a knack for writing unhinged
punk earworms.
But it’s Sister Sniffany, and her singular lyrical and performance style,
who elevates the band beyond the sum of their influences. Her lyrics
inhabit the same world as her “macabre, visceral” (It’s Nice That)
cartoons - a world of hidden humiliations, girl abjection, crumpled
lager cans, clam chowder and lumpy, over-stuffed dollies.
Over the course of ‘The Unscratchable Itch’, Sniffany ventriloquises a
cast of pathetic, unbalanced characters: A secretarial administer tails
her Casanova husband to a suburban swingers party: “I can smell
him from here: a mix of Vaseline, foot cream and Stella beer.” A poor
old grandmother’s glasses fog up as she chastises her
granddaughter: “You self-entitled selfish little twat! / Left me to die in a popcorn-walled flat! / Spotty little smelly little prick! / Making your poor grandmother sick!”
But these characters aren’t detached, impersonal creations. As
Sniffany explains: “In Sniffany & The Nits I like to exorcise and exhibit
the deeply shameful parts of myself that I see as the toxic aspects of
my own femininity.” These are confessional songs about love
addiction, jealousy, possession, self-loathing and “egg smashingfury.” Though occasionally they are literally just about Sex & The City, red-pilled incels or grandmothers. O Williams (drums), Max ‘Wozza’ Warren (bass) and Matt Green
(guitar) have been entrenched in the UK DIY scene for years, having
played in the aforementio ned bands, as well as countless others.
Warren also runs the influential left-field label Gob Nation - a home
for ‘egg punks’ across the country. As such, the band veer between
atonal no-wave guitar assault, straight-up hardcore, goth/anarcho or
whatever takes their fancy, while remaining identifiably Nit-like.
Always grounded by a pounding, pogo-ing rhythm section, The Nits
provide the perfect backdrop for Sister Sniffany’s wild, relentless live
performances.

"Wir wollten ein Album schreiben, das unseren Sound widerspiegelt - aber wir wollten ihn noch weiter ausbauen und vertiefen", sagt MALEVOLENCE-Frontmann Alex Taylor. Mit ihrem dritten Album, Malicious Intent, haben die aus Sheffield stammenden MALEVOLENCE genau das getan. Fragen Sie jeden, der sie gesehen hat, wie sie kleine Hardcore-Gigs im Druckkessel in Brand setzten und auf großen Metal-Festivals riesige Pits entfachten. Jeder, der ihren Auftritt bei Bloodstock 2021 gesehen hat, weiß, dass dies ihre große Stunde ist. MALEVOLENCE ist wirklich angekommen. Gegründet im Norden Englands, hat MALEVOLENCE einen eigenen Sound perfektioniert, der wie eine Band aus New-Fucking-Orleans daherkommt und gleichzeitig die Kraft des Riffs und die Brutalität des Breakdowns verinnerlicht hat.

RAWAX presents EAST155 aka Mattia Ewas, Germano Ventura, Claudio Capizzii - Critical Schema (12")

'The dynamic pop-meets-R&B duo, Two Another, today announce their hotly anticipated debut album “Back to Us”, an album that traverses themes of self-acceptance, queer identity, letting go of the idea of perfection and hope for the future. Blending alt-pop, funk and R&B, the upbeat buoyancy of Two Another’s sleek yet energetic productions on “Back To Us” has an infectious potency to transform a mood or an outlook track after track. The duo again confirm their unparalleled talent as they channel raw emotion into undeniable grooves across the ten tracks which are pumped with compelling stories executed by the honeyed melodies of Eliot Porter and the joyous synths of Angus Campbell.

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Since its incarnation as a string of tapes and CDRs for the band to sell on tour in 1999, the Sad Clown series has taken on numerous forms, including 4-track demos, live shows, a DVD, a mixtape, and 7" singles. While preparing for 2007's When Life Gives You Lemons, You Paint That Sh*t Gold, Atmosphere launched the next phase of the series, releasing Sad Clown Bad Summer Number 9, the first of four EP's dedicated to the four seasons. These seasonal releases were the first in the Sad Clown series to receive distribution, being made available on both vinyl and CD. Showcasing Slug and Ant at their best, the four Sad Clown seasons encompassed fan favorites such as "Don't Forget," `The Rooster," "Not Another Day," "Happymess," and "Sunshine," Atmosphere's biggest song to date. These four iconic EPs are now packaged into one 2xLP vinyl release titled Sad Clown Bad Year, complete with an 8-page activity book of custom coloring pages, connect-the-dots, a word find and a maze. The entire package comes housed in a reverse board jacket featuring black & white illustrations with an uncoated finish so you can color and customize yours anyway you like!

Pop Matters said that "Nnamdï's sounds are a testament to the continual melting away of genre distinctions in the current era of (particularly Black) music." His extensive catalog includes covers significant ground in hip-hop, pop, rock, punk, orchestral, and experimental music. In 2021, NNAMDI expanded his freewheeling sonic explorations for an entrée into the world of pop-infused dance and electronica with the release of the Are You Happy EP on November 12, 2021. Notably, Are You Happy is the only NNAMDI project to date that he did not produce, perform, and record by himself. To the surprise of his fans, NNAMDI bucked that self-imposed precedent to work with Chicago producer Lynyn. Lynyn is the alias of composer Conor Mackey, NNAMDI's longtime bandmate in the jazz-fusion quintet Monobody. Are You Happy released shortly before Lynyn's 2022 debut electronic LP lexicon (Sooper Records), which went on to garner significant acclaim. DJ Magazine said that "lexicon is likely to set him apart as one of IDM's next visionaries".

Having been given the seal of approval from Rolling Stone, NME, TheFace, Danny Howard (TOTW), Jack Saunders (TOTW), Zane Lowe, Mary Anne Hobbs, Matt Wilkinson and more. An artist on the rise and poised to soon be one of the world’s most recognisable names, in the last year alone, Nia has won a MOBO award for ‘Best Electronic/Dance Act’, the NME Award for ‘Best Producer’, been hotly tipped by BBC Radio 1 Dance as a ‘Future Star’ and Spotify as their ‘Our Generation’ cover star. With additional accolades such as #3 in the BBC Sound of 2023 Poll and a Brit nomination for the ‘Rising Star award’. Alongside her cover debut on one of the world’s most prestigious dance music publications, Mixmag, Nia Archives has been given the seal of approval from tastemakers across the board from British Vogue, Pitchfork, The Fader, i-D and CRACK. Sunrise Bang Ur Head Against The Wall is available across retail on Limited Edition Red Vinyl and will be released on Friday 10th March. This game changing EP features ‘Biana’, ‘So Tell Me’ and brand new single ‘Conveniency’ released on Friday 3rd Feb.

Roadrunner United war ein Projekt des berühmten
Hardrock-Labels Roadrunner Records, das 2005 zur Feier
des 25-jährigen Bestehens organisiert wurde und seinen
Höhepunkt in den "All-Star Sessions" fand, einem Album,
das für Chart-Platzierungen in Deutschland, den USA,
Großbritannien und weiteren Ländern sorgte. Vier
"Spielführer" (Joey Jordison von Slipknot, Robb
Flynn von Machine Head, Dino Cazares von Fear
Factory und Matthew K. Heafy von Trivium) wurden
auserkoren, sich mit 57 Artists aus 45 ehemaligen und
aktuellen Roadrunner-Bands einzufinden. Ein
Metal-Familientreffen der besonderen Art!
Ab dem 10. März 2023 sind sowohl das Original-Album
der "All-Star Sessions" als auch das Konzert selbst in
Vinyl wieder erhältlich.