Buscar:mc

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

Kill Emil is a Greek DJ and producer, based in Athens, who since 2009 has produced tracks with powerful and sophisticated rhythms and vaporous atmospheres.

Influenced as much by Latin and Jamaican music as by Hip-Hop, Kill Emil regularly collaborates with artists such as l'Entourloop (on their album “Le Savoir Faire”), The Architect, Taiwan MC and Marina P.

Deja Vu is a sonic journey through nostalgic rhythms and fresh beats, offering listeners a blend of the familiar and the new. Each track is a testament to Kill Emil's dedication to the craft, featuring meticulously crafted layers that invite repeated listens.

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

Produced by Lenny Kravitz (Executive) and Fela Kuti’s original engineer Sodi Marciszewer (Artistic). Worldwide tour in 2024 / 2025 (North America, Europe, Australia). New album from 2018 Grammy nominated album “Black Times”. Seun Kuti set to release highly anticipated album ‘Heavier Yet (Lays The Crownless Head)’ featuring guests Damian Marley and Sampa The Great on October 4th. Afrobeat virtuoso Seun Kuti is gearing up to unleash his latest musical masterpiece upon the world with the upcoming release of his album that will be set to make waves globally via Milan independent label Record Kicks. Coming 6 years after the Grammy nominated album ‘Black times’, this album marks a pivotal moment in Seun Kuti's illustrious career, showcasing his evolution as an artist and activist. Executive produced by legendary musician Lenny Kravitz and Fela Kuti’s original engineer Sodi Marciszewer (artistic producer), ‘Heavier Yet (Lays The Crownless Head)’ promises to deliver a sonic experience like no other. With both Kravitz's and Sodi’s expertise together with Seun Kuti's unmatched talent, the album is poised to redefine the boundaries of contemporary music while staying true to the roots of afrobeat. Featuring a tracklist of six electrifying songs, each track on ‘Heavier Yet (Lays The Crownless Head)’ embodies the spirit of resistance, resilience, and revolution. Each song talks about standing up against challenges and fighting for change. Like the standalone singles ‘Dey’ feat reggae icon Damian Marley, described as “a song about embracing and championing who we are, regardless” and ‘Emi Aluta’, “a song about struggle (Aluta means struggle) that pays homage to all the great revolutionaries”, that features Zambian singer, rapper and songwriter, Sampa The Great, one of best and most innovative lyricists of our time. The song ‘T.O.P.’ is about “how society values money and success more than people”. Seun Kuti wants to change this by promoting empathy and reconnecting with nature. In another song, ‘Love & Revolution,’ he expresses his love for his wife and believes that true love can inspire people to make the world a better place. “This project has been very special to me from the moment I conceived it, speaking to Lenny Kravitz, who has shown me such a brotherly love and respect” Seun says. “He has brought me to his home. I met his daughter Zoe and he has guided us with fierceness. Since we spoke about the album, three years ago, as the executive producer of this project, he has always been by our side and very supportive”. “I want to thank Craig Ross and Sodi, the producer of this project. We had a great time. It was the first time for me in the studio with Sodi and I was really impressed by his work and his fatherly advice and dedication”. Each song on the album is a testament to Seun Kuti's unwavering commitment to using music as a tool for social change and empowerment. Through his powerful lyrics and infectious grooves, he continues to carry on the legacy of his father, the legendary Fela Kuti, while carving out his own path in the world of music. As a musician and pan-African activist, Seun has been involved in a number of campaigns in recent years, including #EndSARS – a social movement against police brutality in Nigeria. Significantly, he’s revived the Movement of the People (M.O.P.), the political party his father set up in 1979, which was quashed by the military government not long after Fela’s failed presidential bid. Fans can expect an album that not only entertains but also inspires and ignites a spirit of activism and liberation. Seun Kuti is a Nigerian musician, singer, and songwriter renowned for his captivating performances and socially conscious music. He is the youngest son of Afro beat pioneer Fela Kuti. Seun has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. As a developing saxophonist and percussionist, he entered the formal ranks of the band before he was 12. In 1997 when Fela passed, in fulfilment of his father's wishes, Seun assumed the mantle as head of Egypt 80 and he has run it ever since. During his career, Seun Kuti released 4 albums with Egypt 80: ‘Many Things’ (2008), ‘From Africa with Fury: Rise for Knitting Factory Records’ (2011), coproduced by Brian Eno and John Reynolds, ‘A Long Way Beginning’ (2014) and the Grammy nominated ‘Black Times’ (2018) that included a feature from Carlos Santana. They also released numerous EPs. Seun has played for enthusiastically receptive audiences globally and collaborated with many great artists. In 2022, he joined forces with Roots frontman and MC extraordinaire Black Thought in the EP ‘African Dreams’. In 2023, Seun collaborated on Janelle Monae's ‘The Age of Pleasure’ (Grammy nominee for Album Of The Year) with the two singles 'Float' and 'Knows Better', teamed up with Talib Kweli and MadLib for their album ‘Liberation 2’ on the song ‘Nat Turner’ featuring Cassper Nyovest and released a new version of the single ‘Bad Man Lighter’ with Black Thought, featuring Vic Mensa

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

Reissue! Ein exklusives Album zur damaligen (2019) Feier des 15-jährigen Bestehens des CMR-Labels, das von Chinese Man, Baja Frequencia und der Scratch Bandits Crew zusammengestellt wurde! Mit einer Mischung aus Scratch-Musik, Trip-Hop, Dub und tropischen Rhythmen zeigt The Groove Sessions Vol.5 die künstlerische Spontaneität und die stets sprudelnde Kreativität der Künstler des Labels. Im Februar 2019 verbrachten die drei Bands eine gemeinsame Woche in den Bergen. Die Idee war es, Stile und Inspirationen zu mischen, die Spontaneität der Produktionen stand im Fokus. In sechs Tagen entstanden 18 Demos. Sechs Monate später wurden schließlich 15 Songs für das Album fertiggestellt und veröffentlicht. Der Downbeat von Chinese Man vermischt sich mit den dub-tropischen Klängen des Baja Frequencia-Duos, welche von dem unglaublichen Hip Hop-Know-How der Scratch Bandits Crew ergänzt werden. A true banger! Klassisch schwarzes Doppel-Vinyl mit Downloadcode!

One side of Jungle old school Tribe... And one side of pure Hardtek Tribe UK oldschool style :)

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

„Wings“ war ein erfolgreiches Unterfangen für Ex-Beatle Paul McCartney. Seit der Gründung Ende 1971 bestand die Besetzung der „Wings“ aus den
Musikern Denny Laine (ehemals The Moody Blues), Linda McCartney, Paul McCartney und wechselnden Musikern. Dieses LP, gepresst in transparenter
Farbe, enthält Radio-Broadcasts aus den Jahren 1972 und 1978.

JD McPherson has created something unique and amazing with his latest album, Nite Owls. His first album release since 2018’s critically acclaimed Christmas classic, SOCKS. Over the past 5+ years, McPherson has stayed consistently busy writing new songs while at the same time touring with Alison Krauss and Robert Plant. Being a touring musician offers the chance to see the sights, tour the town and pick up some inspiration from the local record shop. With Nite Owls, JD wanted to try something new and different. He wanted to take the inspiration from multiple decades and styles and incorporate them into his own sound. “The initial idea for the record was: It’s like if The late-60s Ventures were the session band on the first New Order record.” Says, McPherson. Idea achieved. Nite Owls delivers the signature sounds of vintage garage-rock while also seamlessly bridging the sounds of Bowie and Alan Vega. Songs such as “Sunshine Getaway”, “The Rock and Roll Girls” and “I Can’t Go Anywhere with You” sound like Chuck Berry is jamming with Buddy Holly. While song’s like, “Nite Owls” and “Don’t Travel Through the Night Alone” give a nod to the Factory sound from the UK. The throwback sound of the lone instrumental track “The Phantom Lover of New Rochelle” would make Dick Dale ride and Link Wray rumble. With Nite Owls, McPherson takes inspiration from multiple genres of the past and combines them together to evolve a sound that is all his own.

Punk collective TOKKY HORROR have released their brand new EP 'KAPPACORE', today via Venn Records. Order the EP - HERE. To celebrate the release the band have released new single 'MAXINE'. Speaking about the new single the band said, “Maxine is a perfect example of collaboration breathing new life into an idea. We’d been sat on the instrumental version for over a year, and wasn’t until we got into the studio with Blazer that it really came into its own. We wanted to capture the atmosphere of rave culture but play it as a band. It’s got all the breaks, bass lines, stabs that a rave track would carry. It’s just done live” Speaking about the EP the band said, “This is the last thing we’ll put out before disappearing to record our album. It’s road tested, high energy material from the first era of Tokky Horror. We’ve wanted to meld breakbeats with visceral guitars as we usually do, but expanded our range of sampling further and pushed our weirdness at times, there’s less out-and-out riffs and more times where our love of Orbital and Aphex Twin shines through. It’s still a record for the punks, just not purists.” KAPPACORE Tracklisting: MAXINE (feat Blazer Boccle) HAMMER 2 THE FACE JAZZ MUSIC TOILET TRANMERE RAVER (feat. MC NULTi) Tokky Horror who recently supported Enter Shikari on their sold out tour, have announced a headline tour for this October..

Unreleased boogie-funk tracks from 1982 London. Music from an obscure, yet adored era/location, featuring the band that laid the groundwork for McKenzie and Gardiner, a certified UK Boogie Funk group from back in the day, known by funk/boogie aficionados and crate-diggers worldwide. “I’ll Keep Loving You” and “No Use Hidin’” are the final demos from the group Class of ‘78, which is the 7-piece band that predated the duo of McKenzie and Gardiner. It showcases a more loose live group feel on these two unearthed cuts recorded in 1982. “I’ll Keep Loving You” and “No Use Hidin’” are proper boogie-funk era tunes: both are spacey upbeat love songs with elements of disco, funk, lounge, and new wave

Originally released on 24th of August 2004 on Curb Records, twenty years later Tim McGraw's Live Like You Were Dying is being released on vinyl for the first time. Entering the Billboard 200 chart at number one with sales of 766,000 in it's first week of release culminating in over 4 million in sales. It was nominated for Best Country Album at the 47th annual Grammy Awards, with the title track nominated for Song of the Year and won in the categories for Best Country Song and Best Male Country Vocal Performance. Five singles were released from the album, all top 15 hits on the Hot Country Song Charts, with two number ones.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

In 2013, Marc Almond realised the then ambition of his creative
career when he collaborated with legendary producer Tony Visconti
(David Bowie, Hazel O'Connor, T-Rex, Morrissey). The evocative
results of their unique collaboration can be heard on the opening
tracks ‘The Dancing Marquis’ and ‘Burn Bright’.
In collaboration with record producer Tris Penna, Tony Visconti also
lends a helping hand with string arrangements and mixing duties on
two further tracks; ‘Tasmanian Tiger’ and ‘Death of a Dandy’, the
latter lovingly inspired by the tragic and sudden death in 2010 of
Soho’s renowned hedonist, the writer and artist Sebastian Horsley.
Continuing in this collaborative vein, ‘The Dancing Marquis’ also
features the talents of Martin McCarrick (Siouxsie and the
Banshees, Therapy?) contributing cello on the hearteningly buoyant
‘Burn Bright’, and strings on title track ‘The Dancing Marquis’, a song
which Marc penned with Henry Paget, the 5th Marquess of Anglesey
very much in mind. Jarvis Cocker (Pulp) contributes an infectious
electro-pop song that he wrote especially for Marc, ‘Worship Me
Now!’ - he also features on backing vocals and production duties in
conjunction with Jason Buckle (The All Seeing I).
‘Love Is Not On Trial’ saw Marc once again collaborating with Carl
Barât (The Libertines), his co-star in the 2012 opera ‘Poppea’ as
performed at Théatre du Châtelet in Paris. Produced again by Tris
Penna, the song was written especially for Marc by Carl, who also
features on guitar and vocals.

The Granada TV series of SHERLOCK HOLMES starring
Jeremy Brett as Sherlock was one of the most
successful series ever produced by Granada TV. The
series is still being shown all over the world and the
music from it is celebrated in this 40th Anniversary
Limited Edition DigiMIX Vinyl edition.
Patrick Gowers, the composer for the entire series
adapted and expended his themes from THE SIGN OF
FOUR, THE ADVENTURES OF SHERLOCK HOLMES and
THE RETURN OF SHERLOCK HOLMES to comprise the
tracks featured on this CD.
He conducted The Wren Orchestra, The Gabrieli
String Quartet and The St.Paul's Cathedral Choir
specially for the recording which was made at The
Abbey Road Studios in Digital.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

Legendary UK band Asian Dub Foundation is celebrating its 30th Anniversary this year!

Asian Dub Foundation are a genre unto themselves. Their unique combination of jungliest rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots via militant high-speed rap has established them as one of the best live bands in the world. The story began in the early 90’s when ADF formed from a music workshop in East London at the institution which is their spiritual home, Community Music. Their unique beginnings in a music workshop in east London shaped both their sound and their educational aspirations, setting up their own organisation ADF Education (ADFED), plus instigating campaigns on behalf of those suffering miscarriages of justice.

Building a solid live reputation in the mid-90’s, they gained worldwide recognition sharing the stage with Rage Against The Machine, the Beastie Boys, Radiohead and Primal Scream. On record, they've collaborated with Radiohead, Sinead O'Connor, Iggy Pop, Adrian Sherwood, and Chuck D. In addition to their blistering live reputation ADF were one of the first bands to experiment with live film re-scores (“Cineconcerts”), beginning with their rapturously-received re-interpretation of the French classic La Haine back in 2001.

In 30 years, Asian Dub Foundation have racked up 1000’s of unforgettable shows, 9 studio albums alongside a social and educational activism that both created the group and sustains them today. In celebration of the longevity of this unique project they are announcing an extensive European tour for 2024-25 of more than 60 shows and a special album showcasing their many iconic collaborations. “94-Now: Collaborations” will be released on September 27, 2024!










h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) ADF30 Rework)








h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) [ADF30 Rework)

This album marks Thelonious Monk's sole recording as a member of Art Blakey's celebrated Jazz Messengers. The pianist and drummer were very close friends who understood each other well on both a personal and musical level. In fact, Blakey was present on both Monk's first and last studio sessions, spanning a period of 24 years from the 1947 quintet and trio recordings to the last sets taped in London in 1971, when Blakey and Monk were touring with the group called the "Giants of Jazz" (which also included Sonny Stitt, Dizzy Gillespie, Kai Winding and Al McKibbon). With the exception of Johnny Griffin's "Purple Shades", all of the compositions on this album are classic Thelonious Monk tunes.




[d] In Walked Bud [First Version]



[h] Evidence [Solo Piano Version]

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

'Freak The Speaker' is an evolution of The Allergies trademark sound, seeing duo Moneyshot and Rackabeat deliver their biggest beats to date on their latest album. They enlist a quality melting pot of artists to bring additional vibrancy with K.O.G, Ohmega Watts, Dynamite MC, Dr Syntax, and Skunkadelic, all stepping up to the plate. Long-time collaborators and live tour band members Andy Cooper Ugly Duckling, sax supremo James Morton and soul sensation Marietta Smith, continue to keep it nice and lively, rounding off another quality album full of funk, soul and hip-hop, guaranteed to provide good vibes and shake your sound system.

Promo

"A banger from those Bristol boogie boys" Craig Charles on 'Koliko'

"Obsessed with this new track from The Allergies." Lauren Laverne on 'Koliko'

"I love that it's recognisably you but also an evolution from what you've done before... " Adam Walton - BBC Wales

"All over this one. Absolutely incredible." Lauren Laverne on 'No Flash'

"Hot new release." Steve Lamacq on 'No Flash'

"Boom-bap rap cut from the finest cloth." Chuck D (Public Enemy) on 'No Flash'

DJ Support: Dave Lee, Mousse T, Michael Gray, Tedd Patterson, Eric Kupper, The Shapeshifters, John Morales, Seamus Haji, Melvo Baptists, Dr Packer, Julius Papp, Dj Romain, Luis Radio, Birdee, Marc Cotterell, Angelo Ferreri and many others…

Groove Culture Bosses Micky More & Andy Tee are back with a new Records Series titled ‘Groove Is In The Heart’. The First Volume sees music from Ron Carroll, Derrick Mckenzie & Angela Johnson, House Freakers and Fleur De Mur. Four quality SoulfulHouse songs with live instrumentation. A must have for the lovers of the genre.

"On clear vinyl a collection of disco classics, that features the iconic disco anthems ""Le Freak,"" and Chaka Khan’s ""I'm Every Woman” and many more that celebrate love, empowerment, and self-expression.
"

BLACK GIRL SINGER LM, formerly known as Lillie Nicole McCloud is a singer of exceptional ability with a sparkling career and a discography spanning seven albums.

Worth noting that in 1986 as Nicole, she had the smash hit ‘New York Eyes’ - a duet with the late great Timmy Thomas.

Her musical collaborations include Melissa Morgan, Keith Sweat and Angie Stone to name just a few!

Now as BLACK GIRL SINGER LM, she has begun releasing new songs. I DO LOVE YOU is considered by ‘those in the know’ to be one of the finest soul tracks from last year. Totally enamored by the soulful vocal prowess and production qualities, IZIPHO SOUL had to gain a vinyl release. On the flip side, this queen of vocals brings it home with the fervent ballad HEART OF HEARTS.

Wisdom Through Music is an album by saxophonist Pharoah Sanders. It was recorded in New York City and Los Angeles, California, and was released in 1973 by Impulse! Records. On the album, Sanders is joined by flutist James Branch, pianist Joe Bonner, bassist Cecil McBee, drummer Norman Connors, and percussionists Badal Roy, James Mtume, and Lawrence Killian. The most notable track is "High Life," on which Sanders emulates the West African style of music with roiling, celebratory drumming and singing, and killer flute playing.

Ronnie McNeir's self-titled debut album, released in 1972, showcases his soulful voice and songwriting talent, blending R&B, soul, and funk. The album, characterized by lush arrangements and a warm, analog sound, captures the essence of early '70s music. Rich brass sections, smooth strings, and intricate rhythms complement McNeir's expressive vocals. The album's themes of love, loss, family, and gratitude are reflected in heartfelt lyrics and smooth melodies, establishing McNeir as a significant figure in the soul music scene. In 1999, McNeir joined The Four Tops as their musical director and keyboardist, marking a new chapter for both him and the group. His talents as a keyboardist, vocalist, and arranger blended his soulful style with The Four Tops' established sound. ""Ronnie McNeir"" is a soulful debut that captures the essence of early '70s R&B, partly due to the production by acclaimed Motown producer William ""Mickey"" Stevenson. It is a testament to Ronnie McNeir's talent as both a vocalist and a songwriter, with ""Extra, Extra"" and ""In Summertime"" as stand-out tracks. This album is a must-listen for fans of classic soul and R&B music.

2024 Repress

Pitch Black’s “Electronomicon”, a landmark album in New Zealand’s electronica scene, finally gets pressed on vinyl.First released in 2000, “Electronomicon” shows Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.

“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.

To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has remastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.

Das kommende Album von Thurston Moore ist sein neuntes Soloalbum. Einige der Songs wurden in Europa und Großbritannien geschrieben und arrangiert und enthalten lyrische Verweise auf ihre Umgebung und sind von der Natur, luzidem Träumen und modernem Tanz beeinflusst. Im Jahr 2023 wurden zwei Singles veröffentlicht: das energiegeladene, non-album, von Isadora Duncan inspirierte 'Isadora' mit einem Musikvideo mit Sky Ferreira in der Hauptrolle. Und "Hypnogram", welches die Presse als eines der intensivsten Stücke bezeichnete, die Moore je veröffentlicht hat, verbindet die melodischeren Momente seiner früheren Band Sonic Youth mit den vielschichtigen, berauschenden Schnörkeln der Hauptband seiner Bassistin Deb Googe, My Bloody Valentine. Das neue Material vermittelt eindringlich das Gefühl von Träumen und lässt die Fans gespannt sein, was der Amerikaner mit seinem Album vorhat." 2024 dann die mitreißende Earth-Day-Hymne 'Rewilding': Der Musiker lieferte erschütternde Zeilen, als er über die Entfernung der menschlichen Hand aus der Natur nachdachte: "...Don't stir anything...". Moore sang über Erneuerung und eine Zeit für Freunde der Erde, um zu schlafen und einen natürlichen Weg zu verwirklichen, indem man "Korallenmorphologisch träumt". Der Musiker sagte, die britische Rewilding-Bewegung strebe danach, den menschlichen Einfluss auf Ökosysteme zu reduzieren.



Die Texte sind größtenteils wieder vom Künstler Radieux Radio verfasst. Der Name "Flow Critical Lucidity" stammt aus dem Text von "Sans Limites", und auf dem Cover des Albums ist Jamie Nares' "Samurai Walkman" zu sehen - ein Helm, der mit Stimmgabeln ausgestattet ist. Jamie Nares (geboren in Großbritannien) ist ein lebenslanger Freund von Thurston Moore aus dessen New Yorker No-Wave-Tagen und die beiden haben schon oft zusammengearbeitet. Mit dabei sind außerdem Jon Leidecker, James Sedwar, Jem Doulton sowie als Backing Vocals-Gast Laetitia Sadier von Stereolab . Als CD mit Textbooklet, MC oder LP mit bedruckter Innenhülle & Bonus-Flexi

Das kommende Album von Thurston Moore ist sein neuntes Soloalbum. Einige der Songs wurden in Europa und Großbritannien geschrieben und arrangiert und enthalten lyrische Verweise auf ihre Umgebung und sind von der Natur, luzidem Träumen und modernem Tanz beeinflusst. Im Jahr 2023 wurden zwei Singles veröffentlicht: das energiegeladene, non-album, von Isadora Duncan inspirierte 'Isadora' mit einem Musikvideo mit Sky Ferreira in der Hauptrolle. Und "Hypnogram", welches die Presse als eines der intensivsten Stücke bezeichnete, die Moore je veröffentlicht hat, verbindet die melodischeren Momente seiner früheren Band Sonic Youth mit den vielschichtigen, berauschenden Schnörkeln der Hauptband seiner Bassistin Deb Googe, My Bloody Valentine. Das neue Material vermittelt eindringlich das Gefühl von Träumen und lässt die Fans gespannt sein, was der Amerikaner mit seinem Album vorhat." 2024 dann die mitreißende Earth-Day-Hymne 'Rewilding': Der Musiker lieferte erschütternde Zeilen, als er über die Entfernung der menschlichen Hand aus der Natur nachdachte: "...Don't stir anything...". Moore sang über Erneuerung und eine Zeit für Freunde der Erde, um zu schlafen und einen natürlichen Weg zu verwirklichen, indem man "Korallenmorphologisch träumt". Der Musiker sagte, die britische Rewilding-Bewegung strebe danach, den menschlichen Einfluss auf Ökosysteme zu reduzieren.



Die Texte sind größtenteils wieder vom Künstler Radieux Radio verfasst. Der Name "Flow Critical Lucidity" stammt aus dem Text von "Sans Limites", und auf dem Cover des Albums ist Jamie Nares' "Samurai Walkman" zu sehen - ein Helm, der mit Stimmgabeln ausgestattet ist. Jamie Nares (geboren in Großbritannien) ist ein lebenslanger Freund von Thurston Moore aus dessen New Yorker No-Wave-Tagen und die beiden haben schon oft zusammengearbeitet. Mit dabei sind außerdem Jon Leidecker, James Sedwar, Jem Doulton sowie als Backing Vocals-Gast Laetitia Sadier von Stereolab . Als CD mit Textbooklet, MC oder LP mit bedruckter Innenhülle & Bonus-Flexi

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes

PRESSED ON MYSTIC EYE COLORED VINYL HOUSED IN A GATEFOLD JACKET WITH LINER NOTES INCLUDING AN INTERVIEW WITH KRS-ONE

Last August marked the 50th anniversary of the birth of Hip-Hop and we continue to honor the artists and albums that had a significant impact on the culture. In partnership with Sony's CERTIFIED, we are following up on our RSD reissue of BDP's Edutainment and KRS-One's Return of the Boom Bap with a long overdue reissue of KRS-One's 1995 self-titled album, KRS-One. Two years after the release of Return of the Boom Bap, KRS-One got back in the studio and behind the boards and enlisted for additional production DJ Premier, Showbiz, Diamond D, Norty Cotto, and Big French Production. In August of '95 KRS-One dropped the Preemo-produced lead single "MC's Act Like They Don't Know" with "Represent The Real Hip-Hop" featuring Das EFX on the B-side of the 12-inch, boasting KRS-One's lyrical skills and backing up his status as one of the best live performers in the game. KRS-One knocked it out of the park on his second solo effort with another Premier single about the current state of Hip-Hop on "Rappers R, N. Dainja" and straight-up Boom Bap rap on the Fat Joe assisted track "De Automatic." He offers political and social commentary on "R.E.A.L.I.TY.", "Hold", and "Free Mumia" with Channel Live and continues to diss sucker MCs on "Wannabemceez" with Mad Lion. Get On Down is proud to present this deluxe reissue packaged in a gatefold jacket with a new interview by Check The Technique author Brian Coleman, complete with a foldout lyrics sheet.

DJ Support: DJ Sabo, Gordon Invisible Inc, Ground Chill Mountain, Roe Deers, Thomas Von Party, Vidis

Multi Culti serve up a full-length treat from Peruvian artist Aristidez. Cofounder of Lima-based party collective Casa Locasa and the non-profit label Behua Icara (translated as Healing Rhythms), in support of indigenous culture, Aristidez has recently relocated to Berlin. With releases on Calypso, Disque-Discos, and Kebrada, as well as remixes for Amplio Espectro, Ida Sound, Discos Aquelarre, Rotten City Files, and Playground Records, Aristidez has quietly made a name for himself with a growing catalog of low-key dance tracks that have been championed by the likes of Matias Aguayo, Andrew Weatherall (RIP), and Inigo Vontier, to name a few. With an emphasis on the hypnotic power of rhythm, Aristidez channels indigenous influences in subtle fashion, alluding to visionary experience without resorting to pastiche or obvious tropes. There are freaky tribal rhythms but no shaman samples, just expertly produced tracks than reveal an expansive set of electronic influences that range across tempos and decades, from breaky 90s rave, 80s proto-trance, cult dub, downtempo and more. It’s listenable, danceable, heady and kaleidoscopic stuff that should stand the test of time.

The Album “Prawda Cel Przeslanie” (which translates to “Truth Purpose Message”) by the polish duo Trials X, which officialy came out in the year 1995, was the first ever hip hop album that was released in Poland. 30 year after its recording The Very Polish Cut Outs are reissuing this obscure gem for the first time on vinyl (the original album was a cassette only release). It is often said that pioneers don’t have an easy life. Being a protoplast in a given field, you lay the foundation for the fruits that others will reap, often forgetting your achievements. This is not entirely the case with Trials X, as the band's contribution to the history of the Polish hip-hop scene is widely known and appreciated, but mainly only among raps biggest enthusiasts and diggers. This special 30th aniversary vinyl edition will hopefully introduce this pionieering album to a wider audience which will apprieciate its strong points but also shortcomings as it is a big piece of eatern european hip hop history.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

Ginger Root ist das Projekt von Cameron Lew aus Südkalifornien. Seit seiner ersten Veröffentlichung 2017 vermischt der Multi-Instrumentalist, Produzent, Songwriter und visuelle Künstler handgemachten, aber makellos polierten Synth-Pop, Alt-Disco, Boogie und Soul zu einem Sound, den er selbst als "aggressiven Fahrstuhl-Soul" beschreibt. Durch seine Linse als asiatischer Amerikaner, der mit der Musik der 1970er und 80er Jahre aufgewachsen ist, nimmt eine Musik Gestalt an, die insbesondere den kreativen und kulturellen Dialog zwischen japanischem City Pop und seinen westlichen Gegenstücken von French Pop über Philly Soul bis hin zu McCartney der Ram-Ära hervorhebt. SHINBANGUMI ist seine dritte LP und die erste für sein neues Label Ghostly International. Lew zeigt sich auf SHINBANGUMI gelassener, eigenwilliger und bewusster denn je und bringt genau das zum Vorschein, wonach sich Ginger Root anhören und anfühlen sollte. Die Leadsingle "No Problems" fungiert mit singbaren Basslines, schwungvollen Gitarrenriffs und cleveren Keyboard-Hooks als Eröffnungssequenz und als Brücke zu neuem Terrain. Für Fans von L'Imperatrice, Toro y Moi, Unknown Mortal Orchestra, Thundercat, Crumb, Khruangbin. ENGStep inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Electric Lady Studios: A Jimi Hendrix Vision is the latest in-depth project from Experience Hendrix, encompassing 5 LP / 1 Blu-Ray of previously unreleased music Jimi Hendrix recorded at his newly created recording facility in 1970. The deluxe box set offers 39 tracks (38 previously unreleased) that were recorded by the new-look Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks “Valleys Of Neptune,” “Pali Gap,” and “Lover Man”. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and Produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood who joined Hendrix on the first night of recording at the new studio, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The 5LP’s were pressed on audiophile grade vinyl by Quality Record Pressings and the box set includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes.

The Balcony (10 year anniversary) - Debut and breakthrough record The Balcony has become a career-defining album for Catfish and the Bottlemen, with Double Platinum status and 9 BPI Certified Singles including ‘Cocoon’ and ‘Kathleen’, it was originally released through Communion/Island Records on 15th September 2014. Written by Van McCann and produced by Jim Abbiss, the collection of songs on this album showcase McCann’s talent for posing everyday, easily identifiable observations through his lyrics. The album’s success and the many sold out shows resulted in a Brit Award for British Breakthrough Act. The expanded album will be available on a collector’s 7” boxset, a beautiful black slipcase housing 7 discs, each with original artwork, and a tracklist that includes the full The Balcony album plus bonus tracks ‘Hourglass (Ewan McGregor Version)’ and ‘ASA’ This boxset will be numbered and limited to 2,000 copies worldwide. LTD 2LP - In celebration of the 10 Year Anniversary and after their biggest headline shows to date this Summer, The Balcony will be released on limited edition ultra-clear 2LP with inverted white artwork and 6 bonus tracks including a selection of previously unreleased acoustic versions of ‘Cocoon’, ‘Kathleen’ and ‘Pacifier’, ‘Rango’ (single version), ‘Hourglass’ (Ewan McGregor version) and rare bonus track ‘ASA’ available on a vinyl 12” for the first time after the original pressing of the limited edition 7” single 10 years ago.1CD - In celebration of the 10 Year Anniversary and after their biggest headline shows to date this Summer, The Balcony will be released on limited edition 1CD with inverted white artwork. This CD features the full album, plus a selection of previously unreleased acoustic versions of ‘Cocoon’, ‘Kathleen’ and ‘Pacifier’, ‘Rango’ (single version), ‘Hourglass’ (Ewan McGregor version) and rare bonus track ‘ASA’ available on CD for the first time after the original pressing of the limited edition 7” single 10 years ago.

The common thread throughout the album is the sitar. With this album Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music.



On April 12, 2024, Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) will release his long-awaited debut album MÁYÀ on WERF Records!


The common thread throughout the album is the sitar, an instrument that he learned in the traditional way from various sitar masters in India. Since 2017 he has been trained by the world-famous Anoushka Shankar. In every song he tries to approach this unique instrument in a different way.


With this album he builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music. On the album guest musicians from all over the world are playing, such as Ravichandra Kulur from India (Anoushka/Ravi Shankar, John McLaughlin, Aka Moon,..), Benny Bettane (Australia/handpan) & Belgian friends like Roland van Campenhout, Tim Vanhamel and Stef Kamil Carlens.

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Im Kopf eines Vigilanten tobt ein Krieg. A Killer's Confession erzählen ihn laut auf ihrem vierten Album und MNRK Music Group Debütalbum Victim 1.
Die Band um Sänger und Mastermind Waylon Reavis geht über den Punkt ohne Wiederkehr hinaus und kanalisiert die fesselnde Abscheulichkeit
wahrer Verbrechen zu einem Soundtrack aus melodischem Hardrock mit Anflügen von hämmerndem Metal und heimtückischem Industrial. Eine fast
ein Jahrzehnt dauernde Reise führte zu diesem Punkt. Nach drei bahnbrechenden Alben mit Mushroomhead zog sich Waylon von der Musik zurück,
bis sie ihn 2016 wieder einholte. Er tauchte wieder an der Spitze von A Killer's Confession auf und lieferte drei kultige Lieblingsalben: Unbroken
2017, The Indifference of Good Men 2019 und Remember [2021]. Auf dem Weg dorthin verzeichnete die Band zig Millionen Streams und arbeitete
mit jedem zusammen, von Brian "Head" Welch von Korn und Love And Death bis hin zu Chad Gray von Mudvayne und HELLYEAH.2022 ging Waylon
mit seinen Kollegen und Produzenten Dusty Boles [Make Me Famous] und Evan Mckeever [Nine Shrines] ins Studio. Als er diese Vision zum Leben
erweckte, entstand das zehn Tracks umfassende Äquivalent zu "falling down a YouTube rabbit hole of unsolved mysteries". Am Ende erzählt A Killer's
Confession eine Geschichte, von der man sich nicht mehr abwenden kann.

Im Kopf eines Vigilanten tobt ein Krieg. A Killer's Confession erzählen ihn laut auf ihrem vierten Album und MNRK Music Group Debütalbum Victim 1.
Die Band um Sänger und Mastermind Waylon Reavis geht über den Punkt ohne Wiederkehr hinaus und kanalisiert die fesselnde Abscheulichkeit
wahrer Verbrechen zu einem Soundtrack aus melodischem Hardrock mit Anflügen von hämmerndem Metal und heimtückischem Industrial. Eine fast
ein Jahrzehnt dauernde Reise führte zu diesem Punkt. Nach drei bahnbrechenden Alben mit Mushroomhead zog sich Waylon von der Musik zurück,
bis sie ihn 2016 wieder einholte. Er tauchte wieder an der Spitze von A Killer's Confession auf und lieferte drei kultige Lieblingsalben: Unbroken
2017, The Indifference of Good Men 2019 und Remember [2021]. Auf dem Weg dorthin verzeichnete die Band zig Millionen Streams und arbeitete
mit jedem zusammen, von Brian "Head" Welch von Korn und Love And Death bis hin zu Chad Gray von Mudvayne und HELLYEAH.2022 ging Waylon
mit seinen Kollegen und Produzenten Dusty Boles [Make Me Famous] und Evan Mckeever [Nine Shrines] ins Studio. Als er diese Vision zum Leben
erweckte, entstand das zehn Tracks umfassende Äquivalent zu "falling down a YouTube rabbit hole of unsolved mysteries". Am Ende erzählt A Killer's
Confession eine Geschichte, von der man sich nicht mehr abwenden kann.

Das revolutionäre Album der Hardrock-Supergruppe, mit Scott Weiland von den Stone Temple Pilots und Slash, Duff McKagan und Matt Sorum von Guns N' Roses sowie Dave Kushner von Wasted Youth, ist ein Meilenstein. Die erweiterte Ausgabe auf schwarzem Doppelvinyl präsentiert sich mit einem alternativen Cover und einer um sechs Songs ergänzten Trackliste, darunter B-Seiten, Akustikversionen und beeindruckende Coverversionen von Songs von Nirvana, Cheap Trick und Pink Floyd.

US-Band Foxing überschreitet gerne Grenzen und vermischt Indie-Rock mit Emo- und Elektronik-Elementen. Auf ihrem fünften, selbstbetitelten Studioalbum geht sie einen Schritt weiter und liefert schwerfälligen Experimentalismus mit Hardcore-Momenten und einer neuen inhaltlichen Tiefe ab, die man so vorher noch nie gehört hat. "Foxing" balanciert Hoffnung und Nihilismus, Pastorales und Tumultartiges aus. Ob die Tracks zwischen viszeralem Rocklärm und intimen Schlafzimmerkassettenexperimenten oszillieren oder am Rande des Zusammenbruchs kreuzen, die dramatische Dynamik, die Foxings Musik seit langem durchdringt, hat sich noch nie so extrem angefühlt. Die LP wurde vollständig von der Band selbst produziert und von Gitarrist Eric Hudson gemischt.

14 Songs, Johnny Cash, Willie Nelson, Waylon Jennings $ Kris Kristofferson. Live at Nassau Coliseum features live classics such as "Mammas Don't Let Your Babies Grow Up to Be Cowboys," "Ring of Fire", "Me and Bobby McGee", and more.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

PRESSED ON ORANGE SWIRL COLORED VINYL PACKAGED IN A GATEFOLD JACKET WITH A FOLDOUT LYRIC SHEET

In 1996, after 14 years in the game that started with Too $hort and Freddy B selling tapes out of the trunk of their car in East Oakland, Too $hort announced he would be retiring. On May 21, 1996, Too $hort released his 10th studio album Gettin' It with the lead single of the same name featuring Parliament Funkadelic. Retirement was more of a hiatus as Too $hort got back in the game in 1999 with the appropriately namedalbum Can't Stay Away. If Gettin' It was going to be Too $hort's last album, he was going off on a high note by earning his 6th Platinum record. In addition to having Parliament Funkadelic contribute to two songs, Ant Banks and Shorty B are back with their laid-back Bay Area funk along with some G-Funk contributions by Colin Wolfe, L.A. Dre, and Spearhead X. Too $hort delivers another Bay Area classic full of nasty pimpin' rhymes with dope features by MC Breed, Erick Sermon and Rappin' 4-Tay. Previously only available on promo vinyl, Get On Down in partnership with Sony's CERTIFED is proud to present a proper vinyl release of Gettin' It in an orange swirl-colored vinyl run packaged in a gatefold jacket with a foldout lyric sheet.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

The brand new album "Pacific Voyage" by Nautilus from Tokyo is a breezy summertime soundtrack which combines sunny Yacht Rock with a touch of cool 80s City Pop.

The Japanese Jazzfusion trio reinterpretates stone cold classics from this era in their typical signature way of playing.

Songs like the heavy sampled "What You Won't Do For Love" by Bobby Caldwell and Toto's "Georgy Porgy" get a completely new coat of paint and fresh interpretation translated into now and tomorrow.
Followed by a who's who of tracks from Donald Fagen, Michael McDonald, Shuggie Otis, Nohelani Cypriano and Toshiki Kadomatsu to name a few.
Guest appearances on this album are from UK soul singer John Turrell (Smoove & Turrell), German rap legend Toni-L (Advanced Chemistry with Torch) and Japanese soul singer Ryuto Kasahara who worked with Grooveman Spot and DJ Mitsu The Beats so far.

Enjoy this pacific voyage.

ZeroZero return to Flexout after their smash hit single with MC GQ last year. ‘Too Much Acid’ is the duo’s debut EP on Flexout and features man of the moment Teej on remix duties for their cult classic that has since been championed by Laurent Garnier and features on a very special forthcoming VA in conjunction with Fabric. The 2 original solo tracks on the EP come in the form of ‘Confidence’ and ‘Too Much Acid’ both tracks have been supported by the biggest names in Drum & Bass including Break, QZB, Simula and Alix Perez. Last but not least the lads have enlisted Drum & Bass royalty in the form of London vocalist Riya on the unique, groovy roller that is ‘Thinking Over It’ a track that beautifully blurs the boundaries between light and dark.

"A Dream Is All We Know" lässt die auf Nylonsaiten basierenden Arrangements von "Everything Harmony" hinter sich und kehrt zu dem Stil zurück, den die Brüder erstmals auf "Do Hollywood" vorstellten. "A Dream Is All We Know" verbindet die Theatralik und den Glam-Rock des Lennon-McCartney-Songbuchs mit zeitgenössischen Erzählungen, explosiven E-Gitarren-Riffs sowie den sonnigen Harmonien und ausgeklügelten Aufnahmetechniken der Wilson-Familie und bringt die Liebe zum Detail und die Fähigkeiten der Brüder als Multiinstrumentalisten zum Vorschein. Mit fast einem Jahrzehnt an Songwriting auf dem Buckel zeigt "A Dream Is All We Know" deutlich die Entwicklung der D'Addario-Brüder von rehäugigen Teenagern, die Musik machen wollten, die an ihre Helden erinnert, zu jungen Männern, die die Bühne mit PHOENIX, BLEACHERS, ARCTIC MONKEYS und ihrem musikalischen Helden TODD RUNDGREN teilten, von ELTON JOHN, THE ZOMBIES, GERARD WAY und IGGY POP gelobt wurden und sich zu visionären Songwritern und Arrangeuren entwickelten, deren Werk selbst eine Quelle der Inspiration für andere Künstler ist. "A Dream Is All We Know" wurde komplett mit historischem Equipment aufgenommen und von Brian und Michael selbst abgemischt und gemastert. Das Album zeigt THE LEMON TWIGS, wie sie nach Jahren der Perfektionierung ihres Handwerks mit einem neu entdeckten Sinn für Intuition spielen.

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

The "Not The Way" EP is the first ever release by Cass McCombs, a record that marked the beginning of a long career which has seen him rise to being seen as one of the most important songwriters of his generation. A self-recorded 6-track EP originally released on CD, it"s finally getting its first ever 12" pressing, having been remastered at Abbey Road.

BLUE NOTE TONE POET EDITION: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray
von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Single Sleeve, wattierte Innenhülle.
Auf seinem Album ”Let Freedom Ring” spiegelt Saxofonist Jackie McLean den Wandel wider, der 1962 in
der Luft lag: die musikalischen Freiheiten der aufkommenden Avantgarde und die sozialen Veränderungen,
die von der Bürgerrechtsbewegung gefordert wurden. Begleitet wird er von Walter Davis Jr. am Klavier,
Herbie Lewis am Bass und Billy Higgins am Schlagzeug.

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

'Awayland' ist der Nachfolger des für den Mercury-Award nominierten Albums Becoming A Jackal. Produziert und abgemischt wurde es bei Attica Audio in Donegal von Conor J O’ Brien, selbst Kopf hinter Villagers, und dem Gitarristen Tommy McLaughlin. Original erschien das Album im Januar 2013.

Format: - Blaues Vinyl inkl. Downloadkarte

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

Gemeinsame Auftritte mit weltbekannten Gitarristen wie Jon Gomm, Joscho Stephan oder Peter Finger, sowie Engagements als Live-Bassistin bei Alli Neumann oder der Band AnnenMayKantereit. Mit letzterer spielt Chassée bis heute in ausverkauften Hallen in Deutschland, Österreich und der Schweiz und veröffentlicht ihr 4. Studioalbum auf Roof Music!

'Attachment Theory' (VÖ: 06.09.24 via ROOF Records) ist das neue Album von Sophie Chassée. Insgesamt zehn Songs, die Herzensbrüche und kaputte Beziehungen verhandeln, als gäbe es da tatsächlich eine Theorie, eine Formel, um diesen verdammten Schmerz erträglicher zu machen. Und wenn es sie gibt, dann, das macht 'Attachment Theory' klar, muss diese Formel lauten: Gezupfte Gitarren a la Ben Howard, Tracy Chapman oder Andy McKee addiert mit einem wunderbar zarten, warmen Colbie-Caillat-Gesang und multipliziert mit großen Folk-Popmomenten, wie man sie noch aus frühen Taylor Swift-Songs kennt. Dazu Lyrics, die so klar alles 'Toxische' zurück in die Dunkelheit der Nacht singen, dass da nur noch Licht bleibt, etwa in 'What Fathers Do: Your words don’t met your actions/ You never heard of self reflection'. Mit 'Attachment Theory' erscheint nun bereits das vierte Studioalbum der Singer-Songwriterin. Da sind viele Genres, mit denen man Chassées Musik zu beschreiben versuchen könnte: Modern Fingerstyle, Folk oder Acoustic Pop. Vielleicht reicht es aber auch, diese Songs als das zu benennen, was sie sind: Große, ehrliche, tiefe Lieder. Solche, die die Landschaft vorbeiziehen lassen, Pflaster über die Wunden auf der Seele kleben – und die Hoffnung ein bisschen heller leuchten lassen.

Bobby Hutton is from Detroit, Michigan. In 1971 he performed on the very first nationally aired Soul Train TV programme. He recorded with Phillips (the in-demand “Come See What’s left Of Me” now a separate 7” release), then ABC where her recorded his LP “Piece Of the Action” (released by Expansion on LP/CD) including “Lend A Hand”, the other separate 7” side on Expansion). The two tracks on this 7” (which feature as bonus tracks on the Expansion CD reissue of “Piece Of The Action”) were first released back-to-back in 1974 on the ABC label. Both songs are co-written and produced by McKinley Jackson, key to songs for Lamont Dozier, Freda Payne and The Four Tops at ABC in the early to mid-70s. The other co-writer is the Grammy Award winning Reggie Dozier, brother to Lamont Dozier. This 7” has not been reissued for 40 years, and an original copy on Discogs will set you back £200 in the UK.

• The return of the award-winning 2009 release • Available on CD and limited-edition translucent red LP • On tour throughout 2024 Since 1999, the GRAMMY-nominated southern rock band NEEDTOBREATHE have quietly emerged as a dynamic force in music, from independently releasing their first album in 2001 to finding themselves playing arenas and receiving nominations for multiple Dove Awards, Grammys, and Billboard Music Awards. After releasing two successful albums, Daylight and The Heat, on Atlantic Records, the band their third album, The Outsiders, in 2009. The record quickly put them on the map, peaking at #20 on the Billboard 200 and at #2 on the Hot Christian Albums charts. The first single, “Lay ’Em Down,” reached #4 on the Hot Christian Songs chart, and other tracks crossed over to Triple A (“Something Beautiful” #12) and the Alternative charts (“Hurricane” #29). AllMusic gave the album four stars, claiming it “offers up another collection of sweeping, reverent rock songs [and] flirts with touches of roots rock and traditional gospel, from the title track's powerful Southern stomp to the sheer power of Bear Rinehart's voice." The Outsiders won the Dove Award for Rock/Contemporary Album Of The Year, and “Lay ’Em Down” landed honors as Rock/Contemporary Recorded Song Of The Year.

Two years later, the band would be on tour as the opening act for Taylor Swift’s Speak Now world tour, as well as performing alongside acts including Tim McGraw and Train. Since the release of this landmark album, NEEDTOBREATHE have reached arena-sized proportions, headlining iconic venues such as Bridgestone Arena in Nashville, TN, and four sold out shows at Red Rocks Amphitheaters in Morrison, CO. The band most recently performed at the 2024 CMA Awards in Austin, TX, with Jordan Davis, whom they also recorded an episode of CMT Crossroads with. Now, over fifteen years since The Outsiders was released and brought the band to greater heights, NEEDTOBREATHE are re-pressing the long sold-out record for the first time ever on translucent red vinyl.

George Strait kommt zurück mit seinem 31. Studioalbum Cowboys And Dreamers!
Als der unangefochtene König der Country-Musik hat George Strait mehr als 105 Millionen Alben verkauft
und über 60 bedeutende Unterhaltungsindustriepreise sowie unzählige Nominierungen erhalten. Zudem ist
er der einzige Künstler in der Geschichte, der über drei Jahrzehnte hinweg jedes Jahr einen Top-10-Hit hatte.
Zum Album findet der Hitmacher folgende Worte: „Ich widme diese Platte meinem langjährigen Manager und Freund Erv Woolsey und meinem langjährigen Fiddleplayer und Freund Gene Elders, die am
selben Tag, am 20. März 2024, gestorben sind sowie meinem langjährigen Freund und Roadmanager Tom
Foote, den wir am 29. April 2024 verloren haben. Ich werde all die schönen Zeiten, die wir zusammen
hatten, nie vergessen. Mögen sie in Frieden mit unserem Herrn Jesus Christus ruhen.“

This is the first reissue of the “Piece Of The Action” LP since 1973, and the CD has bonus tracks with everything Bobby Hutton recorded between 1969 and 1974. Everything taken from the original master stapes and restored.

Bobby Hutton is from Detroit, Michigan and began his career after winning a talent show at the 20 Grand nightclub. In 1971 he performed on the very first nationally aired Soul Train TV programme. He cites Jackie Wilson as his biggest influence. He began writing under his real name Harold Hutton, then Billy Davis at Chess Records persuaded the change to Bobby Hutton. He had decided not to pursue a career at Motown, and after one single for Checker, then another at Blue Rock (a subsidiary of Mercury) he moved to the Philips label for the huge Northern Soul favourite, “Come See What's Left Of Me" which was first played at the Stafford All-Nighters back in1985, covered up as Casanova Brown. Talents that produced and arranged for Bobby during those Blue Rock/Philips sessions include Donny Hathaway and Joshie Jo Armstead, and in fact it was with Jo that Bobby co-wrote that Northern Soul classic.

The Philips tracks are all on the CD as bonus tracks to the Piece Of The Action” album for ABC Records in 1973.

Produced by Dee Ervin, there are several fine tracks to enjoy but surely none better than the Gary Wright-penned “Lend A Hand” which became one of the biggest 'modern' Northern Soul tracks of all-time after spins at venues like the Highland Room at the Blackpool Mecca and Wigan Casino. The track was first championed by DJ Colin Curtis in 1974.

The album is beautifully produced with vocal accompaniments from artists including Patti Hamilton of The Lovelites, Jean Plum, Mikki Farrow and Frankie Karl. It received great reviews at the time and that persuaded ABC to release a non-album follow-up 45 produced by the brilliant McKinley Jackson and Reginald Dozier credited “Loving You, Wanting You, Needing You, Wanting You”/'Watch Where You’re Going” which is an elusive, highly sought-after single by soul collectors worldwide (now an Expansion 7” reissue).

In 2007, Bobby was honoured as he was voted the best singer in Chicago, quite an achievement and something that Bobby is quite rightly very proud of

As Country music continues broadening its influence in every corner of the modern soundscape, the quickly growing 'Red Dirt' genre, which encapsulates the Western lifestyle and outlaw sound, is taking centerstage lead by acts such as the influential Randy Rogers Band. For over 20 years, the band's roster and traditional approach has remained unchanged and inspired the surge in a new generation of artists. Acts such as Parker McCollum, Koe Wetzel, Flatland Cavalry, and William Beckmann all began their musical careers on the building blocks set forth by Randy Rogers Band.

The band's second album, Rollercoaster, is applauded as one of the most impactful collections in the Texas music scene. The influence of this record garnered the band bookings in venues once thought out of reach and made them a pillar of 'Red Dirt' Country music.

Now, as the record prepares to celebrate its 20th anniversary, the Randy Rogers Band is releasing a newly re-mastered/re-sequenced edition of Rollercoaster to commemorate the music that ignited their long-lasting journey as a Texas music staple act.

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

Another Boom Bap Classic sureshot lining up a legendary b-boy anthem "A Chorus Line" from Kool Keith and Co, splitting the epic track up over 2 sides of one 7". Limited to only 300 copies!

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”