Cerca:mel

Die französischen Pop.-Connaisseure aus Paris, LA FEMME, veröffentlichen ihr zweites Album ,Mystère".

Die Band hat die kulturelle Landschaft des modernen Paris massiv beeinflusst und ihre Musik an beiden Seiten der Stadt an der Seine verortet: im Glamour und an den weniger glamourösen Schauplätzen. Seit der Veröffentlichung ihres Debüts ,Psycho Tropical Berlin" haben LA FEMME prominente Bewunderer gesammelt: darunter die Regisseure Jacques Audiard und Romain Gavras, Legenden wie JEAN MICHEL JARRE und Hedi Slimane sowie eine stetig wachsende junge Fangemeinde, die ihnen den Titel ,French Best New Band of the Year" bei den französischen Music Awards und Plätze ganz oben in den französischen Charts einbrachte; dazu sorgten TV-Werbespots von Aplles, Renault und Sonos mit der Musik von LA FEMME für gespitzte Ohren.

Die Band kehrt mit einem psychedelischeren Sound und einer ganzen Reihe von Gastsängerinnen zurück, die eine Schneise durch die härtesten Elektrobeats schlagen. LA FEMME feiern ihre wunderbare Heimatstadt und hinterfragen das Ver- und Entlieben. ,Mystère" ist tatsächlich eine Kollektion von Kurzgeschichten über Liebe und Verlust. Jeder einzelnen Song überspringt Sprachbarrieren durch reine Melodie. Der retrofuturistische Surfpop-Sound der Band beruft sich noch immer auf den gleichen glamourös-punkigen Krach wie zuvor, doch dieses Mal ist er durchzogen von einer Zusammenstellung eleganter Einflüsse zwischen ENNIO MORRICONE, dem Disco-Rock von MARIE ET LES GARCONS und THE VELVET UNDERGROUND.

,Mystère" ist ein Fundament für die neue LA FEMME Vorliebe für orientalische Klänge; türkischen Disco, Tuareg Blues, mittelalterliche Psychedelia lehnen sich an an BRIAN ENO und PINK FLOYD.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Wilurarrakutu is the brilliant debut from Papunya-based artist Keanu Nelson, an intimate exercise in musical storytelling and reflection. The album's eight tracks, sung in both Papunya Luritja and English, are verses of prose and poetry pulled directly from Nelson's notebooks and set to minimalist, DIY electronic arrangements.The evocative musical backdrops_featuring Casio keyboards, drum machines, and subtle synth flourishes_were created in collaborative sessions between Nelson and Sydney producer Yuta Matsumura. The two met by chance on Matsumura's visit to Papunya last year. Their impromptu jam sessions form the foundation for Wilurarrakutu's low-key sonic palette, influenced in parts by Papunya's strong local gospel music scene as well as the reggae beats often passed around the remote community via USB sticks and mobile phone transfers.Over these soundscapes, Nelson sings of family, friends, heritage, and culture, with a tone that balances joy and melancholy. They're themes and emotions that also echo through his work as a painter at the Papunya Tjupi Arts Centre. In this way, Wilurarrakutu becomes an extension of his art practice - a graceful audio portrait of a place that evokes the resonance of home.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few.

With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll.

Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

Musik ist im Grunde eine Waffe, um die Mauern, die wir um uns herum aufgebaut haben, zu zerstören - und die finnischen Metal-Melancholiker INSOMNIUM gehören zu den stärksten Waffenbesitzern. Ihr letztes Studioalbum "Anno 1696" (veröffentlicht An-fang 2023) eroberte die internationalen Albumcharts, darunter Platz 1 in Finnland und Platz 5 in Deutschland. Darauf folgte die addendumartige EP "Songs of the Dusk", die den Hörer auf eine weitere Reise in eine dunkle und neblige Vergangenheit mit-nahm.Aus dem Land der tausend Seen, das mit tausend Melodien aufwartet und tausend Emotionen hervorbringt, kam 2014 "Shadows of the Dying Sun", das sechste Studioalbum von INSOMNIUM. Ein Album, geboren aus der Melancholie, der Trauer und der Tristesse langer Winternächte, so unerbittlich und überwältigend wie ein Herbststurm und doch so erfrischend wie die ersten Sonnenstrahlen eines Frühlingsmorgens und so friedlich wie ein lauer Sommerabend. Century Media Records veröffentlicht diesen Klassiker, der Fan-Favoriten wie "While We Sleep", "Ephemeral" und "The Primeval Dark" enthält, erneut auf limitiertem, farbigem Vinyl und mit Liner Notes von Gitarrist Ville Friman für die anstehende "Beyond the Shadows of the Dying Sun"-10th Anniversary European Tour mit ihren (Label-)Kollegen OMNIUM GATHERUM.

LP Crystal Clear incl. 24 page booklet
Swedish Melodic Death Metal All Star sensation THE HALO EFFECT (feat. Former & current members of IN FLAMES, DARK TRANQUILLITY & ENGEL) is back with their eagerly awaited second album. The follow-up to 2022’s „Days Of The Lost“ (30m+ Streams) bears all the trademarks of their heritage and the Gothenburg sound but also adds a modern twist. In early 2025, THE HALO EFFECT will embark on an extensive European headlining tour, being supported by fellow Swedes, PAIN!

Lungu Boy is the third studio album from global superstar and Nigerian singer/songwriter, Asake. The album promises to captivate fans with its vibrant rhythms, soulful melodies, and poignant lyrics that reflect Asake's unique artistry and cultural roots. Lungo Boy showcases Asake's signature blend of Afrobeats, Amapiano, hip-hop, and highlife, creating a rich tapestry of sound that is both innovative and deeply rooted in African musical traditions. Each track on the album tells a story, weaving personal experiences with universal themes of love, struggle, and triumph. The album features collaborations with some of the biggest names in the music industry, like Travis Scott, WizKid, Central Cee, Stormzy, and LUDMILLA – adding exciting dynamics to Asake's already impressive sound.

Produced by a team of top-notch producers, Lungo Boy is a testament to Asake's commitment to quality and his relentless pursuit of musical excellence. The album also narrates the transition of Asake growing up on the streets of Lagos to becoming a global icon and living life in urban cities around the world. It identifies with the sights and sounds of Lagos (Eko, Lagos Island, Idumota Street), London (Hackney, Shoreditch, Brixton, Peckham), and New York (Brooklyn, Harlem).

The Legend is back!
Ringo Starr meldet sich zurück mit seinem ersten Album seit 2019 und seinem ersten Country-Album
seit mehr als 50 Jahren. Neun der 11 Songs auf „Look Up‘‘ wurden von Burnett geschrieben oder mitgeschrieben. Mitbeteiligt war auch T Bone Burnett, der schon mit Größen wie Bob Dylan, Elton John und
Taylor Swift zusammengearbeitet hat und das ganze Album mitproduziert und mitgeschrieben hat.
Ringo über das Album: „Ich habe Country-Musik schon immer geliebt. Und als ich T Bone bat, einen
Song für mich zu schreiben, dachte ich nicht einmal daran, dass es ein Country-Song sein würde - aber
natürlich war er es, und er war so schön. Ich hatte zu der Zeit EPs gemacht und dachte, wir würden eine
Country-EP machen - aber als er mir neun Songs brachte, wusste ich, dass wir ein Album machen mussten!
Und ich bin so froh, dass wir das getan haben. Es war eine Freude, es zu machen, und ich hoffe, dass es
ine Freude ist, es zu hören.“

Philmore Greene's "The Grand Design" is a masterful blend of reflective storytelling and dynamic Hiphop. Deeply rooted in the rhythm and streets of Chicago, Greene is a luminary who epitomizes passion for music and undying love for the art form. The album weaves personal experience from the Westside of Chicago with sharp lyrical compositions. The follow up to Philmore's collaborative album with Apollo Brown (Cost of Living), The Grand Design continues the Chicago boom bap tradition with guest features from Bruiser Wolf, Skyzoo, UFO Fev, RJ Payne and Rashid Hadee

Gelobt sei das allmächtige Riff! Triumphaler, wunderschöner, schwerer und kraftvoller Stoner Metal: „Sirens“ von Moon Wizard hat triumphale,
wunderschöne und kraftvolle Stoner Metal-Vocals und instrumentale Hooks, die hymnisch sind und süchtig machen und jede Minute wert sind.
Einfach nur melodischer, schwerer Stoner Metal und insgesamt eine tolle Atmosphäre. Moon Wizard, gegründet von den langjährigen Freunden
Aaron, Joe und Ashton, haben sich von ihren Black- und Death-Metal-Wurzeln gelöst und eine einzigartige Mischung aus Doom und Stoner Metal
geschaffen. Nach ihrem Debüt mit dem selbstbetitelten Album im Jahr 2018, fügte die Band 2020 die Chicagoer Sängerin Sami Wolf hinzu, die ihrem
Sound eine neue Dimension verleiht. „Sirens“ zeigt die kontinuierliche Entwicklung der Band und gibt einen Ausblick auf das, was als Nächstes
kommt.

LP Crystal Clear incl. 24 page booklet
Swedish Melodic Death Metal All Star sensation THE HALO EFFECT (feat. Former & current members of IN FLAMES, DARK TRANQUILLITY & ENGEL) is back with their eagerly awaited second album. The follow-up to 2022’s „Days Of The Lost“ (30m+ Streams) bears all the trademarks of their heritage and the Gothenburg sound but also adds a modern twist. In early 2025, THE HALO EFFECT will embark on an extensive European headlining tour, being supported by fellow Swedes, PAIN!

The highly praised and long sold-out 2LP album of transcendental psychedelic rock from the eternal Träden, formerly known as Träd, Gräs och Stenar, is finally available again. New limited edition pressing on multi-colored vinyl. Recorded live to tape in the band’s countryside music workshop, these mind-melting improvisations travel beyond time and space through the magical unknown, a manifestation of timeless organic music and free creation.

Im Französischen sagt man oft, dass man in alten Töpfen die besten Suppen kocht. Dieses Sprichwort trifft auf Rash Panzer in idealer Weise zu. Anfang Dezember veröffentlichte die Genfer Power-Rock-Combo ihr neues Album, ihr fünftes, und das mehr als 40 Jahre nach der Gründung der Band! Im Januar folgt nun die Vinyl-LP für alle Liebhaber! Zu sagen, die Musik der Band sei älter und feiner geworden, wäre eine Untertreibung. Das neue Album von Rash Panzer, das den Namen „Born to Rock‘n Roll“ trägt, ist eine kleine Perle des kraftvollen und melodischen Hardcore, die Fans von Aerosmith, AC/DC und den Ramones begeistern wird. Aber weit davon entfernt, eine x-te Kopie der oben genannten Bands zu sein, sind die Kompositionen des Sängers JJay Guertchakoff und des hervorragenden Gitarristen Renato Dani furchterregend effektiv und originell. Sowohl beim Anhören des Studioergebnisses als auch live verdient diese „Born to Rock‘n Roll“ zwei Dinge: einen Platz in der eigenen Diskothek und einen Platz auf dem Plakat von Festivals. Denn neben der Musik wäre auch JJays Stimme allein schon eine Reise wert. Im Gegensatz zu anderen Vokalisten, die über 60 Jahre alt sind, ist sein kraftvolles Organ nicht gealtert. Rash Panzer ist ein sicherer Wert und sein Rock ist unsterblich.

Classy and soulful collaboration with one original and three remixes For the Original Mix, label owner Sub Semantics teams up with Hanover-based Producer ANDERE. It features a highly stuctured groove, elegantly layered with energetic pads and a catchy lead melody. On A2, Map.ache from legendary Giegling label and co-founder of KANN records, delivers a minimalist, super-dreamy remix. On the ­ipside, the Argentinian producer Volpe delivers reduced dubby techno with an oldskool vibe, preserving many elements of the original. MELATRONIX, also known as Elad Magdasi and Mathias Weber, contribute to the EP on B2. The highly experienced artist duo and Front Left Records label heads close the EP with a particularly powerful remix, straightforward and with remarkable precision.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

After the incredible interest in the KOSMONAUCI debut album, we created a dedicated version for the Japanese market. "Japan Edition" has an insert translated into Japanese. The vinyl is black (180g). The label also has Japanese markings. Each record also has a special Japanese OBI.

U JAZZ ME is a boutique label rooted in U Know Me Records.

"Sorry, nie tu"is the debut album of the boys band KOSMONAUCI. The album consists of original compositions by the band members that were created over several years and evolved with the artists. The music of the Cosmonauts derives from jazz and improvisation, but over time the musicians have developed many new ways and possibilities to draw from many other, seemingly distant musical genres. Songs characterized by improvisation and rhythm of drum & bass or hip-hop are one of the characteristic features of the album "Sorry, nie tu". The music of the band KOSMONAUCI is stylistically extensive and at the same time very coherent, thanks to the combination of beautiful lyrical melodies with catchy and often surprising polyrhythms or bold improvisations. KOSMONAUCI have been playing together since high school, which can be heard very well in the chemistry of the whole band and the emotions flowing from the album. On March 21, 2024, the premiere of the debut album entitled "Sorry, nie tu" will take place. The album will be released by U Jazz Me, a sublabel of U Know Me Records. It will be the inaugural sublabel album.

KOSMONAUTS– a boys band originating from jazz traditions, which in its musical language draws onhip-hop,drum & bassandimprovisation. The instrumentarium, which includes saxophone (Miłosz Pieczonka), bass (Bartłomiej Lucjan), vibraphone (Tymon Kosma) and percussion (Jan Pieniążek), creates a unique style of the group, balancing between emotional melodies and polyrhythmic structures. The roots of the band's music go back to the jazz traditions of the 1950s to the 1990s. Their current sound, on the other hand, is much more varied by the search for ideas in genres such as hip-hop, drum & bass, alternative pop or the contemporary London Yass scene. KOSMONAUCI have been playing with each other since high school and have known each other since elementary school. They went to school together, to the concerts and grew up together in the field of music as well. The artists have classical and jazz education, which gives them a wide range of possibilities in the field of improvisation, performance and composition. Each of them has an individual style and different inspirations, which find a common denominator in the band, allowing them to create a unique style of playing and sound. Despite the fact that they have been active on the music scene in Poland and abroad since 2018. Their first album is released in 2024. Over the past few years, KOSMONAUCI have had the opportunity to perform at renowned jazz festivals, collaborate with renowned artists and learn from the best artists in Europe. The resultant of all these factors is the band's debut album "Sorry, nie tu", which will be released on the sublabel of the U Know Me label - U Jazz Me.

FTV004 is an artist mini album from Spains Sergio Garcia recording under his Uf0 Alias. His recognisable breaks and electronic melodies keep in style of previous releases on Altered Sense, Further Electronix, Gated and Withhold, which drift in and out of lush pad heaven breakdowns and skipping breakbeats. Limited to 140 copies worldwide on eco coloured vinyl in eitherblue, pink or purple. Comes with an insert instructions of how to make a crop circle/Uf0 landing site. 5/5 reactions from Carl Craig, Ame, Michel De Hey, Doc Scott, Moy, Nick Warren.

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

Compilation selected from the etiopiques CD series.
"A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today."

The genius of Lord Kitchener has been the mainstay of our series. In this volume devoted to his post-war London recordings, Kitch plays his many roles with signature aplomb and poised subtlety. First there is the hooligan chantwell, up for anything in the hurly-burly of carnival proper; and then the casual reporter, firing off postcards to Trinidad about taxis, flashy booze, fast women and football in Manchester, with homesickness and grievance nestled just behind the optimism, pride and tentative senses of belonging. There is the bearer of news from home, in detailed accounts of murders, tales of stupid local coppers, and reminiscences about food and particular mango trees; the political thinker, considering racism and Africa; and the diarist, with his vivid tales of infidelity, and disclosure of the break-up of his marriage, and his desire to get away. One foot in the UK, the other in Trinidad; but the man himself somewhere in-between. Kitch In The Jungle, nobody around. A ‘diasporic explorer’; a key twentieth-century witness, alongside such hallowed figures as Samuel Selvon and Edward Kamau Braithwaite. Though in frustration Kitch would sometimes take over double-bass duties himself, the musicianship of Rupert Nurse, Fitzroy Coleman and co is top-notch. The original glorious sound is down to Denys Preston, recording for Melodisc, often at Abbey Road Studios (where we transferred and restored the 78s compiled here). Presented in a lovely gatefold sleeve, with a full-size booklet containing superb, specially-commissioned sleevenotes by Kitch biographer Anthony Joseph, and fabulous, previously-unseen photographs.

2024 Repress ON BLACK VINYL

The album and single news follows closely on the heels of Daudi’s recent tracks “oMo” and “Fool Me As Many Times As You Like” which have received high praise from the likes of Gilles Peterson on Worldwide FM and BBC 6 Music as well as Lauren Laverne, and have been featured in several Spotify editorial playlists including The Most Beautiful Songs in the World, The Other list, The Listening Post, and Fresh Finds. Having released just two independent EPs – “A Brief Introduction to Failure” and “The Lingering Effects of Disconnection” – to date, Daudi has toured with GoGo Penguin, Keaton Henson, and Portico Quartet, whilst also being a participant of the Red Bull Music Academy in Montreal 2016. He also received a standing ovation at this years The Great Escape Festival, and plays as a member of Do Nothing’s live band, who he is currently on tour with. Through his unique brand of modern albeit reverent folk, Daudi continues to offer his listeners a space for understanding and introspection. Deft, melancholic picking reminiscent of Nick Drake is tempered by contemporary percussion and instrumentation. Matsiko’s vocals derive their strength from their seeming fragility. With every song, his confessional lyrics cut to the marrow.

Swiss label Acquit welcomes back D'Funk for more of their no-frills techno. It's seductive stuff from the off with the opener 'In Your Hood' layers up mind-melting synth sequences with sleek beats. "Let's Play' is a more bulky cut with slamming drums and subtle percussive details then 'My Next Turn' pairs things back to rubbery drum loops and dubby chords that sound all gooey and gloopy. 'Glitch My Funk' picks things up with more taught kick drums that compel you to dance as the delicate cosmic vibes permeate the groove. 'Killing Me Deeply' is a nice raw analogue deep house closer that kicks like a mule.

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s enmixed, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.”

In Bathhouse Blues (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on enmixed are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other.

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility

"Atria" is an exceptionally deep, easy-to-play-on-repeat work from Denver-based FOANS, a continuity of heartbreaking melodic interludes and nostalgic, otherworldly softness. Originally self-released in 2014, "Atria", comprised of 9 tracks simply titled "Diorama", is a plunge into dubby textures, meditative rhythmic cadence, lamenting chords, and shimmering neon pads. While growing to become a household name, especially for fans of 100% SILK and the now sadly defunct Danish label Speaker Footage, FOANS has offered numerous beloved releases over the last decade, showing listeners who stumble across his artistic microcosm that he has his own trademark sound, one that is often very recognizable even in a crowded space; a remnant from his early years as a bedroom producer, Atria shows us that FOANS’ sound has always shimmered, has always moved through heavy emotions and uneasy silliness. It will likely continue to do so for years to come.

Perfect Location Records is honored to commit this stunning work to vinyl for the first time, with a digital remaster for digital collectors as well. The record will be packaged in a black die-cut jacket and include a download code along with a small matte print of the acrylic-on-canvas cover art by painter Andrea Willems.

Limited run of 200 physical copies.

The Ghentian skyline has low peaks and hides its horrors in full view ~ walk streamside and you’ll quickly be confronted with façades that leer with their tales and secrets, the angels and demons that built this city holding up its mortar and stone in an inextricable embrace. It is within this incongruous backdrop that Benoît Monsieurs has fostered the Venediktos Tempelboom persona. Using the 12-string guitar as his main instrument, the self-taught musician creates passages that take fingerpicking Americana and Eastern transcendence into the Flanders fields, with winding compositions that distill the essence of giants like John Fahey, Robbie Basho and Jack Rose and folds them into the dark drone melancholia of Funeral Folk/KRAAK stalwarts like Silvester Anfang, Helvete and Ignatz. The results are ringing meditations of awe and terror, flamboyant and grotesque yet utterly mesmerizing in their unrooted sonic imagery.

In his debut LP, Syne Vuyle Hoeck, the Tempelboom amalgamates his influences - East, West and deep Flanders alike - into a flurry of acid-drenched tracks that spread out into a distinctive musical iconography. Each composition carries a facet, highlighting angel and demon in equal measure: the solemn opener “De woelige rit op een roze wolkje” is a threading of melodies that carry pensive heft and hopeful asides, as hints of ragtime buoyancy lead into sullen ruminations in a fully lucid change of course; “Ocharme Ochgod” is a sober penitence, slowly and almost imperceptibly building up into a tangle of lines that inexorably coil back into their brooding backbone; the echoing tape loop of “In Flock” reverberates and torments, steel sharpness and frayed magnetic disintegration finding improbable common ground; “El Contrario” swerves unforgivingly in an Eastern-infused openness reminiscent of Six Organs’ rawer days and unnervingly giving way to a forceful - dare we say upbeat - conclusion. And so one treks into the depths of the Tempelboomian universe, a place of high drama and low morals inhabited by a prankster creator who deploys euphoria and distress in equal measure. Just as the strings of his guitar are left to echo like sparkles in the dark, so his music lingers in the soil of our humanity, redolent of the kind of peace one can only make with the demons of the self.

Superb album from 2013, a Dub malian melting point from High Tone familly.
All the tunes are definitly magic !

The Gatefold sleeve is splendid, and a booklet with paintuings from Emmanuel Prost.

BIG UP !

"We are delighted to be able to bring you these gorgeous field recordings from the Sumedang Province of West Java which, over their 50 minutes, present two distinct sides of Sundanese musical and devotional culture.

Although West Java is a Muslim country, these recordings highlight currents of pre-Islamic animist beliefs and practices that continue to flourish in the small towns and villages of the highlands of West Java. The recordings showcase two forms of trance music that are essential to the spiritual life of the Sundanese people in the highland regions.

Tarawangsa trance music is a traditional ceremonial genre known for its deep spiritual and hypnotic qualities. This music is made using only two instruments, the tarawangsa, a two-stringed fiddle, accompanied by the jentreng, a seven-stringed zither, creating a unique blend of resonant, droning sounds. Historically, tarawangsa music has been performed as part of sacred rituals and agricultural celebrations to honor local deities and ancestors, particularly associated with the Sunda culture. The minimalist, repetitive melodies gradually build, guiding participants and listeners into a meditative, trance-like state, during which dancers can be possessed by the spirits of ancestors or deities from the spirit realm, the music serving as a link between the two worlds.

In stark contrast to the calm, medititive sound of tarawangsa, we also present here two long pieces from Panca Buana Reak Group. Sundanese Reak trance music is like the punk rock of Sunda folk music, combining powerful and driving rhythms played on a number of hand drums and percussion instruments with the buzzing sound of the tarompet, a double reed wind instrument often amplified through whatever mobile speaker system might be at hand. Sometimes the group will play gamelan gongs, as heard on the first piece on the album, although this remains a music that is popular mainly with the working class youth of the rural villages, many of whom will also be fans of Indonesia's burgeoning metal and punk scenes. Reak performances are often wild, anarchic events that feature masked dancers, costumes, public trancing and spirit possession.

These recordings were made by Xenia At during her travels through West Java earlier this year. The tarawangsa recordings were made in a home in the village of Rancakalong on the evening of 17th January 2024, while Panca Buana Reak Group were recorded during rehersals in the village of Cinunuk on 19th and 20th January 2024."

Limited edition of 100 copies.

The musicians:
Overture (played by Panca Buana Reak Group, musicians: Rian Hidayat, Daffa, Rendi, Haswa, Doni, Aconk, Bayu, Zidan, Iwan Uwak, ⁠Mahadewa Sehu, ⁠Bebet, Adi, Bebet).
Reundeu - Master Yayat (kacapi), Tedi Kurniadi (tarawangsa).
Degung - Master Yayat (kacapi), Teguh Permana (tarawangsa).
Pamapag__Gelar Mataram__Panimang__Limbangan - Akbar Nendi (kacapi) & Tedi Kurniadi (tarawangsa).
Reak Lugay Pusaka Pajajaran (played by Panca Buana Reak Group, musicians: Aconk (tong), Rendi (brung), Hendrik (tarompet), Ade (kecrek), Riki (bedug), Doni (talingtit), Adi (badublag).

Xenia would like to extend gratitude to:
Master Yayat, Tedi Kurniadi, Akbar Nendi, and Teguh Permana for their incredible talent that turned this recording into a magical experience.
Ibrahim Adi Surya for technical support.
The Juarta Putra and Panca Buana Reak groups for explaining the cultural significance of local traditions.
Anggun Tresnasari for sharing her deep knowledge of regional music traditions.
Igor Moskalenko, Kate Snap, Stasya Frolova, Roman Gold, Misha Maltsev, Ilona Popychko, Galih Muhammad, Wildan Wiliansyah, Rizalu Ramadhan, Rahi Rahmat, Fahmi Solihin and Muhammad Ismael whose unwavering belief made this project possible.

Hive Mind would like to thank Luigi Monteanni (Artetetra) and Palmer Keen (Aural Archipelago) for their invaluable work and research in this region.

eve is the debut collaboration between Past Inside the Present label head zake and Benoît Pioulard captures the serene magic of a quiet December night. Spanning four side-length tracks, the album grew from a decade of sound fragments all layered up "like family album photos." zake shaped the sonic base while Pioulard added textures with guitar, voice, dulcimer, melodica and synths. The title track evokes a wintry stillness with low swells and turntable crackles, while 'Frost' drifts on reverent vocals and shimmering drones. 'Pine' conveys forest mystery and 'Slept' closes with haunting loops and a delicate resolution like snowfall on an open field.

Das erste Album seit über 5 Jahren:

Fall Out Boy kündigen So Much (For) Stardust für den 24. März an.

Fünf Jahre nach ihrem letzten Album melden sich Fall Out Boy zurück - und sie haben Sternenstaub für alle mitgebracht.

"So Much (For) Stardust" lautet der Titel des insgesamt achten Studioalbums, das die Grammy-nominierte Multiplatin-Rockband für den 24. März angekündigt hat.

"So Much (For) Stardust" stellt für die Band in vieler Hinsicht eine Rückkehr zu den Wurzeln dar. So feiern Fall Out Boy zum Beispiel eine Reunion mit dem renommierten Produzenten Neal Avron , der bereits Mitte der 2000er an drei Alben der Band arbeitete.
Dazu kommt, dass sie genau 20 Jahre nach ihrem ersten und bisher einzigen Album bei Fueled By Ramen/Elektra genau zu diesem Label zurückkehren.

"So Much (For) Stardust)" ist das erste Studioabum von F all Out Boy seit "M A N I A" 2018, das eine Grammy-Nominierung als "Best Rock Album" einfuhr und ihnen in den USA die #1-Platzierung in Folge einbrachte.

To celebrate the 10th Anniversary of Frightened Rabbit’s critically acclaimed Pedestrian Verse album, this special edition double vinyl release contains the original 12 track album with an additional 11 bonus tracks.
Disc 1 is pressed on clear vinyl and disc 2 is pressed on black vinyl.
The records are housed in a gatefold outer sleeve with a gold foiled motif on the front cover and printed inner sleeves containing album lyrics.

"Jake Amy is one of Australia’s most exciting nu-jazz outfits. Their sound synthesises up-tempo future-sonic jazz with hip-hop breakbeats, luscious synth harms, afro-cuban grooves & electronic music. 'Yoofee' and 'Graze' are both heavy-hitting tunes that go from high energy jazz-funk to darker drum&bass aesthetics, tightly executed in a live trio setting. Jake Amy is a Melbourne-based session pianist, producer, audio engineer, and social justice journalist. As a non-binary and queer artist, Jake’s music is deeply influenced by their experiences with gender visibility and their advocacy for non-binary representation. Their work is a bold, boundary-pushing exploration of identity and authenticity, reshaping the nu-jazz genre with every release."

After two solid albums on Motema, both of which earned GRAMMY nominations, Gregory Porter made his Blue Note debut with Liquid Spirit in 2013. Recommencing with the water analogy that characterized his debut disc, Porter saw Liquid Spirit as a logical progression in his burgeoning discography as it touched on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations. The strength of Liquid Spirit lies in Porter's songs, based upon personal experiences with a relatable and emotional immediacy. Even more, his hooky melodies penetrate instantly.

Hailed by public and critics alike, Liquid Spirit won the Grammy Award for Best Jazz Vocal Album in 2014. Platinum in the UK and Germany, gold in France, the Netherlands and Austria, the album has sold over a million copies worldwide.

Marking the 10th anniversary of the album, Blue Note presents a special vinyl edition bringing together the original album on 2LP and a disc of bonus tracks and remixes, with 5 tracks available on vinyl for the first time.

Ohm & Kvadrant return to their home label with two stellar dub techno tracks. The A-side is a mesmerizing melodic dub gem, while the B-side is an exquisite electro-dub masterpiece.

Angeführt von der explosiven Sängerin Siân Greenway veröffentlichten Bobbie Dazzle Anfang des Jahres ihre Debüt-Single bei Rise Above Records, die bald restlos ausverkauft war. Inspiriert von Glam-Größen wie Bowie, T. Rex, Suzi Quatro und The Sweet ist das Debütalbum 'Fandabidozi' der aus den West Midlands stammenden Band ein belebender Ansturm massiver Melodien, mitreißender Riffs und strahlendem Pop-Rock-Bombast. Als Gegenmittel zu der enervierenden Negativität, die uns in diesem historischen Moment umgibt, könnte es kaum perfekter sein. Das Album ist eine feierliche Zeitreise mit zehn Songs, die die 70er Jahre plündert und sie mit aller Kraft ins Hier und Jetzt zerrt. Von der harten Rockmusik des eröffnenden 'Lightning Fantasy' bis zur Pop-Psychedelischen Perfektion des abschließenden 'Flowers On Mars'. Oder frech und stark im klassischen Glam-Shuffle von 'Revolution' und herrlich hymnisch auf der feurigen Debütsingle 'Back To The City', deckt das Album ein riesiges musikalisches Terrain ab und bleibt dabei den Prinzipien des Glam-Rock der 70er Jahre treu: große Riffs, noch größere Hooks und das vorherrschende Gefühl, dass die Zuhörer in ein wirbelndes Kaleidoskop purer Euphorie geschleudert wurden.

Deniece Williams' refreshingly cool cover is reissued in a Japanese delusion-jacketed edition! This is a great cover of the mellow classic soul "Free" released in early 2000 by Natalie, a singer with a charming falsetto voice. Side A features a refreshing cover of Deniece Williams' mellow soul classic "Free," while Side B boldly covers Rose Royse's soul classic "Wishing On A Star."The beat is fast and furious, and the melody is mysterious. Both sides of this single are remarkable.

7" Release of 2022-2023 Singles from a London-Based Neo-Soul Singer of Ghanaian-British Descent!

The long-awaited analog release of past singles by Nectar Woode, a singer of Ghanaian and British descent whose debut EP 『Nothing To Lose』 became a smash hit!

Side A features "Waiting," characterized by delicate, enveloping harmonies and a relaxed swing. Side B offers "For The Best," a track filled with vibrant melodies and an organic, gentle vocal that radiates euphoria. This 7-inch record allows you to fully enjoy the music of female neo-soul and contemporary R&B artist Nectar Woode.

Worte sind keine Selbstverständlichkeit. Vor allem dann nicht, wenn sie von einem breitschultrigen Dichter mit dem Feuer eines Predigers und der Ehrlichkeit und Weisheit eines Laien mit voller Wucht über erdige Live-Beats und zwischen hymnischen Melodien und mitreißenden Riffs gebrüllt werden.
Worte sind wichtig. Geschichte ist wichtig. Menschen sind wichtig. Und BIG SPECIAL sind wichtig.

Ein Duo, das lauter ist als Bomben, BIG SPECIAL schreiben über Verzweiflung und Kampf, über ein Großbritannien im Niedergang, darüber, wie man in seinen dunkelsten Momenten Stolz findet, darüber, dass der wahre Klassenkrieg im Vereinigten Königreich immer nach unten geht. Es sind Lieder der Hoffnung, der Verzweiflung und noch mehr Hoffnung, denn letztendlich gewinnen die guten Menschen. Lieder, die die Stimme wiedergeben, die man hört, wenn man in den Spiegel schaut und sein wahres Ich sieht - Kampflieder für eine Welt, die aus den Fugen geraten ist.

The latest instalment from Acid Jazz’s Albarika Store series, ‘Afro Funk’ compiles the very best of the legendary T.P. Orchestre Poly-Rythmo’s funk cuts.

Formed in 1968 by leader Clément Mélomé, T.P. Orchestre Poly-Rythmo became the leading group in Benin and the cornerstone of the Albarika Store label and legacy.

A secret love letter concerning the new Bambounou and Priori collaboration has been delivered...

“Darling,

I’ve been thinking about how beautifully our love has come together, like a song crafted with care and passion. It reminds me of a melody written by Jeremy Guindo and Francis Latreille, every moment we share feels like it was meant to be, perfectly aligned, just like their music.

From the moment we met, you’ve been my crush, the one who makes my heart race and my world brighter. Our love is full of tenderness and understanding, much like the way each song was carefully mixed at Jump Source Studios. Every word we say, every look we exchange, blends together to create something truly special.

Like a song polished by Nik Kozub, our love has grown stronger and clearer with time, resonating in my heart with pure, unwavering devotion. And just like an art piece, our journey together has been beautifully designed, every detail carefully shaped by the hands of fate, much like the work of Dimitri Erhard and Janic Fotsch.
You are my melody, my rhythm, my everything. With you, life is a beautiful serenade, and I can’t wait to keep writing it. I love you more than words can express, and I always will.

Yours forever,

Crush"

Model 500's "Deep Space," released in 1995, is a landmark album in electronic and techno music, crafted by Detroit pioneer Juan Atkins. This work seamlessly combines atmospheric textures with pulsating beats, reflecting the innovative spirit of the Detroit techno scene. With tracks like "The Chase" and "No UFOs," "Deep Space" captivates listeners through its hypnotic melodies and complex rhythms, creating an immersive experience that feels both expansive and futuristic. The album is revered for its groundbreaking sound and continues to inspire artists and fans alike in the electronic music landscape. This new pressing has been carefully remastered and re-cut from original sources to achieve The best sonic experience possible.

30D Records celebrates a decade of modern sonic exploration. Since its inception at the end of 2014, and initially taking inspiration from 40's & 50's science fiction culture, the label has been offering to listeners a vast array of genres, being experimental, creative and forward-thinking dance music its main mission.

For its 10th anniversary, the cutting-edge electronic music label very proudly announces five distinctive releases, each one across their respective sub-labels.

30drop, in constant evolution towards experimentation, leaves aside once again the obvious 4x4 pattern to dive into melancholic, dense and gritty musical landscapes. These four tracks, each one carefully crafted to convey a specific feeling at a specific moment, were created through layers and harmonics that work as a whole thing.

Tales From The Loop es el nuevo disco que firma el productor malagueño mess_ey. Se trata de un proyecto paralelo de Broken Lip conocido por ser el 50% de BSN Possee y ex-miembro de Califato 3/4.

El disco se define como un emotivo viaje lleno de melancolía en el que el artista se abraza a las luces y sombras del camino que tiene que recorrer en busca de su propia catarsis personal por la pérdida de Tina, una de las tres perras junto a Mesey y Tuerca que son fundamentales en su vida y a las que ha dedicado este trabajo.

Texto de Electrónica & Roll "Feel The Beat"

The EP delves into spooky-dooky electro that squelches along with broken soles, warm breaky-bombastic fun and angular electro haus that evokes mid 2000s fringe attitudes. All in all it is UK music at its very best, a melange of styles mashed together tightly under the pressure cooker environment of Britannia's broken promises. There's even a bonus remix from Klasse Wrecks' regular Omega III who takes the original track on a joyride along the M62 in his broken Vauxhall Astra.

Following up on the Hayal EP in 2023, Dutch techno refractor Konduku makes a welcome return to Bitta with another four cuts of prismatic club fuel. Throughout his consistent output Ruben Uvez applies non-standard ideas to the techno formula, toying with rhythm and eliciting transcendental atmospheres from unusual patterns. This mode of exploration continues unabated on Gazoz, with the title track in particular leaning on a full-frequency, one-note synth pulse which dominates the mix and becomes truly hypnotic in its relentless presence. In the wrong hands it would come off garish, but ?vez knows how to weave subtlety around such forthright sonics to create a sublime sonic experience. 'Mikros' aligns with Konduku's more recognisable palette -- taut, bell-like rhythmic threads that balance delicacy and impact while tunnelling into mysterious, introspective zones. Aimed squarely at the heads-down section of the night, 'Luna' strides forth with a decisive dub techno palette and finds space for expression and progression in the most linear of arrangements. In true B2 style, 'Inici' rounds the EP out with a more fractured approach centred on reversed kicks and psychoactive arps riding wide and slow pitch bends for a mind-melting finish running at a formidable pace. As well as showcasing Konduku at his best, the sound on Gazoz serves as an extension of Bitta boss DJ Nobu's own particular tastes in techno -- brain-tweaking machine music crafted from supple parts, honed for the club without being limited by it.

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

"Anómala" by Peruvian thereminist and guitarist Veronik is a haunting theremin album where the instrument becomes a melodic voice. It"s a gentle experimentation that floats beautifully on femme psychedelic rock waters, captivating with its cinematic and moody soundscapes. Previously self released in Peru in 2017, Zel Zele is proud to present Anómala"s deserved re-release featuring five additional tracks and it"s first-ever vinyl issue, advancing Anomala to another dimension.

Zel Zele is back with a stomper of a DIY 80"s solo album by Turkish bassist Bahtiyar Tas. Arabesque melodies meet odd fusion beats with humorous lyricism, cheeky use of synthesisers and a free approach to arrangement; "Acaip" offers a cross genre trip into Tas"s ironic world.

For Fans Of... Monophonics, David Axelrod, The Rugged Nuggets, Adrian Quesada. Debut LP from The Ironsides. Founded and produced by Monophonics member Max Ramey. Featuring members of Monophonics, including Kelly Finnigan. Reminiscent of a cinematic soundtrack from a 60s European film. The Ironsides have arrived. Changing Light is the first full-length effort from this masterful group of Bay Area musicians. It melds classic psych-soul sounds with sweeping orchestral arrangements – reminiscent of a cinematic soundtrack from a 60s European film. The Changing Light evokes strong imagery of an open road, a breathtaking view, and scenes of a vast landscape begging to be explored. Cruise up the coast, where sweeping orchestral arrangements rise and fall with the tide. As you head North, the countryside opens to an undeniable groove. Tremolo-soaked guitar tones grow on the vines, and timeless, soulful bass lines flow like wine. In higher altitudes, French horns and trumpets soar like eagles. A river below carries bellowing cello tones through a mountain pass into an expansive canyon. Down in the desert, fuzzed-out electric guitar cuts through the dry heat and leaves the listener thirsty for more. Plot a course, or just turn on the car and drive. Max recommends the latter. "The songs are inspired by landscapes - Each one could mean something to someone and create a completely different meaning for someone else." At the end of a long road, The Ironsides have found the perfect place to begin. Also Available From The Ironsides: Changing Light 7", The Raven / Song For Adrian 7"

Cuban music has a new global ambassador: Cimafunk. With a name and image that pays tribute to the Cimarrons – Cubans of African descent that resisted slavery – and music and showmanship that re-embodies funk legends from the last century, the medical-school student turned funk artist has developed into a musical force crafting the sonic future of the island and a global, cultural phenomenon that unites and celebrates blackness across borders, oceans and languages.

After the success of El Alimento, Cimafunk delves even further into his exploration of the intersections between funk and the sounds of the continent and gives us Pa' Tu Cuerpa (Mala Cabeza Records), his most polished and mature production to date. For this occasion, Cimafunk has summoned a constellation of extraordinary artists and musicians.

"Collaboration is something I really enjoy," he confesses. "This album has artists that I had always wanted to work with, of whom I am a fan and of whom I have a lot of influence from them." From the legendary touch of funk master George Clinton, who also appeared on Cimafunk’s last album, to the jazz mastery of top AfroCuban pianist Gonzalo Rubalcaba, through the vibe of Colombian rockstars Monsieur Periné, to the Caribbean rhythms and melodies of Haitian producer Michael Brun, and the youthfulness from Havana’s urban street scene of Cuban newcomer Wampi, each guest works like a piece of clockwork in this masterpiece.

“Cuchi Cuchi” is the track that immediately takes you to the Cimafunk of 2024. Catchy, danceable and super funky, “Cuchi Cuchi,” which is a playful way to say “hooking up,” is a Cuba meets New Orleans mashup ready to explode when performed live. “It’s really funky and you can envision me on stage with my band and feel the way I dress, dance and live life just by playing the track,” says Cimafunk. “My musical director Dr. Zapa is the producer and he’s been with me since the beginning. ‘Cuchi Cuchi’ is Cimafunk & La Tribu after a few years of exploring the world thru festivals, venues, dressing rooms and parties.”

New Orleans – Cimafunk’s new home – jumps out track-after-track on “Pa’ tu cuerpa.” The explosive flow of New Orleans bounce-icon Big Freedia on “Pretty” and the unreplicated, powerful horns of Trombone Shorty on “I don’t care” highlight Cimafunk’s affinity with and full-on embrace of New Orleans music and culture. He’s now a regular performer at the New Orleans Jazz Festival and leads an annual New Orleans – Cuba festival and cultural exchange program, Getting Funky in Havana, that has brought New Orleans top artists and musicians to Cuba to perform for the Cuban people and do work in the schools. The result is a sonic experience as innovative as it is impossible to label; Caribbean but borderless, rooted in Havana but with echoes of Detroit funk and New Orleans bass, horns and street-corner vibes.

Totgesagte leben länger – das beweisen SUBWAY TO SALLY, die deutschen Großmeister des Folk Metal, auf ihrem 15. Studioalbum Post Mortem, das
via Napalm Records erscheint. Der 2023 erschienene Vorgänger Himmelfahrt sollte, so hatte die Band es im Geheimen geplant, die letzte
Albumveröffentlichung ihrer über 30-jährigen Karriere sein. Im Nachhinein erklärt dies auch den symbolträchtigen Titel. Doch es kam anders. Das
Albumrelease entfesselte eine unzähmbare Leichtigkeit, Energie und eine mitreißende Begeisterung, die für alle Beteiligten spürbar waren. SUBWAY
TO SALLY hatten mit ihrer Musik fraglos den Nerv der Zeit getroffen, denn auch die Reaktionen auf Himmelfahrt waren seitens der Fans wie Kritiker
überwältigend positiv und nach einer vielerorts ausverkauften Tour war klar, dass das 14. Album noch nicht das letzte Kapitel gewesen war. Aber wie
macht man weiter Post Mortem?
Ein Paradebeispiel dafür liefern die Potsdamer eindrucksvoll auf ihrem neuen Meisterwerk, das mit dem Paukenschlag „Phönix“ eröffnet wird und die
erneute kreative Auferstehung der Folk Metal Instanz feiert. Auf Post Mortem richten SUBWAY TO SALLY ihren Blick nicht zurück, aber auch nicht in
die Zukunft, sondern liefern eine scharfe Gegenwartsanalyse. Alle Songs vereinen die vertrauten Trademarks, wie großartige Melodien und
tiefgründige Texte, aber wirken dabei niemals redundant. Das Spannungsfeld zwischen Vergangenheit, Zukunft und Gegenwart, Kunst und politischer
Realität füllen SUBWAY TO SALLY gekonnt mit ihrer Musik und stellen mit Post Mortem zweifellos klar, dass sie lebendiger sind als je zuvor

Vertical67 finally lands on Mechatronica with a set of hypnotic, melodic and dystopian club tracks spanning across electro, techno, breaks and acid.

Out of the murky, mystic world of Komodo Kolektif slides the Gamma Knife.

In the corner of a dank, dark mind, a nebulous notion condenses and solidifies, featureless and blind...and from that Komodo Klay a new kreature is hacked, molded and (mal)formed.

“The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively. The two Disciple of the Drum 'dubs' are essentially rhythm tracks using the rhythm and percussion of Disciple Of The Drone, also from 2019, stripping away the drone, the gamelan melody and finally, even the bass line, which was initially intended to be the fundamental driving force of at least one of these dubs. In the end neither of these two tracks became anything like the idea that I had in mind, but that's how creativity works sometimes. The vocal parts in Cantation Dub were added most recently, just a few months ago. Fire Dub is just an exercise in me trying to rein in some insane delays and barely managing. The Ghost of Water is an anomaly because many of the fundamental parts are taken from the same jam session recorded in 2015 that led to Djakarta 3001 from the first EP. If you listen closely you'll hear Graeme Miller on guitar (back when guitar was still featured in our weekly jam sessions). I discovered this unedited hour-long jam session on an older hard drive in late 2023 and decided to fashion something from it until what became Ghost of Water materialised: the heavily delayed saron instruments, the jaw harp, the percussion and so on. What makes the track an anomaly is that it is in some ways both the oldest and newest piece of the five. The Seventh Element takes one of the seven elements of The Seven Heavenly Elements (in this case the Mopho synth tuned to the Indonesian pelog scale and ran through the Boss DE-200's depth modulator) to which I then added some gong parts and field recordings from Bali.

Once complete, I realised with an album's worth of material sitting there which was more “Komodo Kolektif” than anything I would normally produce solo, there came the problem of trying to work out what to do with this distinctly Komodo-esque, non-Komodo material. I came up with the idea of releasing it under the name Komodo Kuts...but a part of me felt I'd be cashing in on the Komodo name so ditched that part entirely...but the kuts remained, which seemed appropriate when used alongside my Gamma Knife moniker (which has a long story of its own...in a nutshell I had a benign brain tumour which only 1 in 10,000 people get and which is most frequently removed with a gamma knife (radiation). In medical parlance the device used in this treatment is often shortened to GK machine. I had been using the DJ name GK Machine, which came from my signature GK Mackinnon, since 1994, in other words long before this diagnosis. In the end I had brain surgery in Spain without use of gamma radiation...but the synchronicity of the name connection fascinated me nevertheless. Sometimes the world works in mysterious ways).

Lastly, now that I've sent these tracks out into the world, I feel somewhat liberated and can move on from this fairly niche and specific sound. The gamelan instruments have been returned to Gamelan Naga Mas, from who we'd borrowed them, and the masks hung up. This does not mean that Graeme Miller and I won't work together again in future...I'm sure we will...it just means we won't be tied to working within the constraints of gamelan, synths, percussion and dub that we became known for. So stay tuned...surely something lurks around the corner” GKM, November 2024

Written and recorded in a firestorm of creativity during the mastering phase of Lukah's upcoming double LP with Real Bad Man, Permanent Blackface is a monstrous vignette displaying the true power of Lukah's songwriting and the technical brilliance of his team. The album flashes before you like a lightning strike illuminating a barren cityscape.

Introducing himself as Mr. Blackface, Lukah identifies the true artist's responsibility to hold a mirror to the listener in order to confront and disarm taboos. In both content and music, the record balances vulgarity and introspection, the horror of silence, and the comfort of colossal, discordant sound. Over 12 songs the celestial, often blood-soaked color palette of soul and R&B that gave emotional weight to Why Look Up and Raw Extractions has been scraped away like a charred skeleton. With a small cast of voices consisting entirely of Lukah's immediate family, and production duties handled in-house by WALZ, Deener, Hollow Sol, Cities Aviv, SB11, and Lukah himself, the record has the intimacy of a theater production. The only voices present are Lukah, joined by his mother providing scat vocals, and his grandfather discussing the Jungian self-hatred of the colonial project and its terrifying repercussions for contemporary Black Amer-icans, with a fitting invocation of Dr. Frankenstein's monster. The beats here are reminiscent of noir, 78rpm swing and big band, evoking the underlying horror of a pre-Civil Rights movement America, where segregational binaries invert-ed folk tales through the white terror of ghosts, the black "spook", and mythic themes of fate and free will. The whip-lash of shifting perspectives keeps your head on a swivel in way only Lukah's superior pen can elucidate. Will it trigger anger that first voice you hear on Permanent Blackface is Judy Garland singing "Sweet Chariot"? But isn't this just Lukah speaking through her, announcing he's got "The Southin his mouth"? As the internet endlessly debates intention and appropriation in our artistic history, the insignificance of this small sample is put into perspective: another white pebble in a black ocean of Lukah's creation. "If the sun don't shine today / pray the sun come out tomorrow...pray the sun pierce through the sorrow"

The album introduces an unnamed character beset by disposition. As the story's scope increases, the gaze of the mir-ror shifts. How would white society feel if historical roles were reversed? How does a presumed white listener experi-ence the trauma of interacting with police?

Prepare to embark on a sonic odyssey as CRIMEAPPLE and PRESERVATION unveil the inaugural chapter of their groundbreaking trilogy with "EL LEÓN”. The album's title, a nod to the undisputed king of the jungle, serves as a meta-phorical beacon for the unyielding hunger that the lyrical predator has always shown.

On this audio hunting expedition, CRIMEAPPLE, the lyrical monarch, roars with an intensity that mirrors the lion's fe-rocity over a wild musical tapestry provided by PRESERVATION, with each track being a testament to the insatiable appetite and predatory instincts needed to navigate the wilderness of today’s music industry, a game that both artists have never bowed down to but always dominated from the outside in.

CRIMEAPPLE has always proven to be a leader of the pride, with the non-stop grind he’s been putting into his MAN-TECA imprint and with legendary collaborations with producers such as DJ Muggs and DJ Skizz carving his name as one of the prominent stars in the game today.

On the production side, PRESERVATION’s musical journey, whether with long-time collaborator Yasiin Bey (fka Mos Def), or as one half of Dr. Yen Lo with Brooklyn emcee Ka, or through legendary collaborations with the likes of billy woods, MF DOOM, Roc Marci, RZA, Sean Price, Raekwon and countless others, have made him an iconic name in musical alchemy.

As the trilogy begins, "EL LEÓN" stands as the beginning of a new hunting season for the two, where CRIMEAPPLE and PRESERVATION are sure to transcend boundaries and reign supreme.

Tauchen Sie ein in die Klangwelt von Emilia Pérez! Der Film erzählt die außergewöhnliche Geschichte einer Transfrau, die einen Neuanfang in Mexiko wagt und dabei auf bewegende Weise Themen von Identität, Freiheit und Akzeptanz erkundet. Der Soundtrack vereint fesselnde Melodien und Rhythmen, die diese emotionale Reise musikalisch zum Leben erwecken.

When Acid Jazz was in its mid-1990s pomp, it released a lot of great records. Sometimes they flew past at such a pace, we had moved on to something else before we realised how good they truly were. ‘Lovesick’ by the Night Trains is one such record.

A phenomenal mixture of a distinctive sample turned into a un-ignorable groove, an unforgettable melody (and the soulful vocal from Marcia Johnson), weaved around a Miles-like trumpet. It should have been a hit. But it wasn’t. Instead, it is a cult classic, which we are being fully indulgent in releasing on a 7-inch single.

Night Trains were the brain child of Hugh Brooker, and they released the first ever acid jazz single in 'Open Channel D’, appearing on early groundbreaking Acid Jazz compilations. It resurfaced on the label in 1993 with the ‘Sleazeball’ album, from which Lovesick was the lead single. Hugh has in many forms kept the group going until the present day. A testament to persistence and good taste, in the face of industry indifference. Hugh is one of the originals and we are proud to still work with him to this day.

This is the first time that ‘Lovesick’ has appeared on a 7", and it is flipped with the previously-unreleased on vinyl ‘Only Know About Love' on the B-side.

The third volume dedicated to the Cajun music, the logical suite of the Cajun Stomps serie, exploring this time the 60"s and 70"s material, made of very rare 45"s singles.

The 1998 Norwegian Black Metal classic ‘Soulblight’ re-issued! “Soulblight” is a worthy contender for one of the best Black Metal albums of the 90’s! 1997’s “Witchcraft” wass a challenging album to follow up with its cult status as one of the greatest Black Metal releases owing to its complex compositions and intricate orchestration. Yet Obtained Enslavement did exactly that, as “Soulblight” is a very different release but it maintained the quality and musicianship the band made themselves known for with “Witchcraft”.

This release discards the openness and mystique of the orchestral arrangements in place of a more guitar and drum-oriented sound, but this works for the much darker and aggressive tone of “Soulblight”. The structure of the album is a highlight compared to its predecessor as it feels more conceptual and complete as a whole, rather than just a collection of songs.

This makes sense as the lyrics tell an epic tale of a great war against the ‘soulblight’, a story that can be followed through the music itself too, thus making it a conceptual album in many ways. Speaking of instrumental work, the iconic and untouchable classically influenced composition (it would be insulting to call it songwriting) of guitarists ‘Heks’ and ‘Døden’, with its weaving and developed melodies to the complex chord sequences and intricate structures, is still an aspect that is so unique to this band; the composers truly have a great understanding of music in its high-art form.

The performances delivered by the band are done with terrifying precision and clarity, unusual for the genre where commonly a ‘that will do’ attitude is employed; nowhere on this album can you hear sloppiness of any kind. Pest’s vocals are consistent and hair-raising, nothing about it sounds human and this works in favour of this otherworldly suite. Pytten has once again cemented himself as one of the greats in the Black Metal world and even just knowing this album was recorded in the infamous Grieghallen, adds to its grandeur and appeal. To conclude, “Soulblight” is a worthy contender for one of the best Black Metal albums of the 90’s. The world will likely never again see two Black Metal albums as perfect as “Soulblight” and “Witchcraft”, evil in its intent yet majestic and epic in its final form.

Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in "Underdressed at the Symphony" wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die physischen Objekte, die sie begehrt bei "Lego Ring". Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song "Lego Ring", auf dem Atlanta-Multikünstler Lil Yachty als einzige Gaststimme auf dem Album zu hören ist. An einigen Stellen schwebt sein gespenstisches Trillern direkt unter Websters Stimme und sticht durch die Leere über einem tiefen Grollen des Basses. Es ist die Art der klanglichen Zusammenarbeit, die auf der Grundlage eines langen gegenseitigen Verständnisses und einer engen Freundschaft gelingt, die bereits seit Schulzeiten besteht. "Underdressed at the Symphony" wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt "Pistol" Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.

Die Edition Paul als Gruß an LKM-Bassist Stephan Paul, der gerade noch pausieren muss: Klares Vinyl gebundlet mit Slipmat & Poster, limitiert auf 48 Stück! Das aktuelle 2023er (Comeback)-Album von LOIKAEMIE mit Namen "Menschen"! 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen LKM-Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellenen sich noch "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener "Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung "Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder des eigenen Kopfes. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits!

Mount Jacinto is the creative vision of Costa Rican artist Sonya Carmona, formerly a member of Colornoise and Las Robertas. Inspired by the majestic Mount San Jacinto in Palm Springs and the expansive landscapes of Northern California, Sonya sought to embody a sense of freedom and openness in her new musical project.

The band lineup includes Gini Jungi of Annie Taylor on guitar, drummer Adrian Oesch, and a touch of Latin American flair with Peruvian Joel Morales on bass and Mexican Yan-Cey on synthesizer.

In their music, chamber music elements intertwine with gentle bass lines reminiscent of Air’s Moon Safari and melodic compositions rooted in raw alternative rock. Their debut EP, Outward Signs, released in March 2023, explores modern pop-rock psychedelia with a groovy touch of twang.

The album was recorded with JooJoo Ashworth from Froth and mixed by Alex Newport (Bloc Party etc.).
The title track, Silver Lining, is a standout on the album, showcasing the evolution of Mount Jacinto's sound over recent years. Sonya explains:
"This song is my favorite at the moment from the album. I think it kind of represents it well and reflects that there is always a 'Silver Lining' in everything, where something good can come from a difficult or bad situation. It’s very exciting to play it live and marks the evolution of our sound through this last year. It has its own character and creates its own sonic universe. It’s a homage to the synth wave era, a mix between Depeche Mode, Eurythmics, and Lebanon Hanover."

The debut album Silver Lining is more than a collection of songs—it’s a deeply personal journey through love, loss, and self-discovery. Created during a period of transformation in Sonya Carmona's life, it captures raw emotions and the resilience required to find one’s true self. Tracks like Forest delve into the path to self-acceptance and the importance of confronting inner struggles, whileThe Reason explores the inner dialogues we have during pivotal moments. The album blends heartfelt, intimate lyrics with lush, soulful soundscapes.
Musically, Silver Lining combines classic 60s and 70s influences with a modern indie vibe. It reflects the profound changes Carmona has experienced, offering listeners a moving musical journey.

Laserdance Album „Fire On Earth“ endlich wieder als LP erhältlich. Laserdance, eine der bekanntesten und einflussreichsten Bands im Bereich des Spacesynth, die maßgeblich zur Entstehung des Genres beitrug, hat mit diesem Werk die Dance- und Synthwave-Szene der 90er Jahre geprägt – und auch heute noch ist ihre Musik eine feste Größe im elektronischen Musikuniversum. Nun ist das Kultalbum „Fire On Earth“ endlich wieder als LP erhältlich. Es enthält eine perfekte Mischung aus futuristischen Klängen, treibenden Rhythmen und atmosphärischen Melodien, die den einzigartigen LaserdanceSound ausmachen.

Side A comes Revision ! Long time no see... With a first tune in its lyrical domain, playing with melodies and tempos... Restless creative tune... Second one is a more Banger, regular Speedcore bumper.

The flip by the label manager, Armaguet Nad is a 2-in-1 shampoo^^ The first part of the tune is a kicker reward, while the second part brings a bBeakbeat attitude, kind of a long drop, finishing 4/4 Soeedcore too... But it's only one tune we present here in 2 differents parts because really.. it looks like a possibmle 2 tunes way :)

Stefan Ringer brings his signature depth and smoky soul to another one of his crucial releases this time on FWM Entertainment. This limited 7" kicks off with 'Wanna Be Bad' which is a cut drenched in Detroit style. The warm pads rise out of the mix over crisp snares and a melodic bassline. It's melancholic and enchanting in equal measure. 'Got Me 123' then brings some roughshod drums and perc and chopped-up vocals to make for a perfect backroom beatdown. Do not sleep on this limited 7" from one of house music's most original artists.

Berlin bassist, composer, studio musician and sought-after sideman Thomas Stieger releases his solo debut album 'Choices'. Stieger's first album as a bandleader features guest appearances by well-known musicians such as trumpeter Randy Brecker, bassists Will Lee and Tim Lefebvre, drummer Wolfgang Haffner, as well as rising stars singer Alma Naidu and keyboardist Simon Oslender.
With his ambitious solo debut, Thomas Stieger, who has already played on over 100 recordings in various styles and released two albums as a member of the prog-fusion-cinematic-jazz band Marriage Material, shows his creative, very personal side.

'Choices' combines melodic groove tracks such as "Noemi's Song" and "Hissing the Flag" with the African-influenced "Chez Aly". The ballad "Resistance", the ode "Glimmer of Hope", the march "The Night You Changed Your Mind" and the title track are provided with string quartet arrangements. Stieger also jams to electro-dance grooves in "Night Ride", creates an atmospheric mood in "Lavender Skies" and closes with the beautiful "Ocean", sung by Alma Naidu.

Thomas started playing guitar at the age of ten and switched to bass at 15. He played in numerous bands and started his own jazz fusion projects. In addition to his work with the band Marriage Material, which he co-founded in 2018, Stieger played in various groups led by drummer Wolfgang Haffner and worked with many well-known artists and orchestras, including Gregory Porter, the Berlin Philharmonic Orchestra, Thomas Quasthoff and Sarah Connor.

Mantra Records, c’est l’initiative d’un jeune passionné de vinyle qui a choisi de créer son propre label afin de presser les morceaux de ses artistes favoris. Qu’il s’agisse de grands noms ou de ses amis proches, l’objectif est de mettre en avant ces talents, en mêlant artistes reconnus et amis de longue date. Le tout pour faire découvrir leurs univers et leur offrir une reconnaissance méritée, notamment à travers des éditions vinyles.

Ce 00 marque le début d’une trilogie. Les deux prochaines étapes resteront fidèles à la même identité visuelle et au même style musical, tout en variant les artistes pour une expérience unique à chaque sortie.

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Attention la B1 est un peu spé niveau pressage.

Writing music, for singer-songwriter and producer Fine, “feels like being entrusted with a secret.” On Rocky Top Ballads, the Copenhagen-based musician’s debut album, these secrets take the form of minimalist compositions that search for glimpses of beauty in the everyday. Recorded, produced, and mixed by Fine, the album is a mystical soundtrack to a captivating songwriter’s explorations of process and intuition.

“The whole album is about the moments when you see a crack in something,” Fine explains, “where you briefly see another side of yourself or of someone you've known forever.”

Fine grew up in Denmark’s rural Northern Jutland; there, her father’s guitar and banjo playing formed the sonic backdrop of her childhood. In the years since, her musical curiosity has led her to work across a range of styles and sounds. In her early twenties, she became part of Danish electronic trio Chinah, which released three albums. You might also have caught her sampled vocals on the joyfully rollicking Two Shell song “Home,” from 2021. Then, last year, she — along with Erika de Casier and Smerz — co-wrote three songs for the massive, critically lauded K-pop group New Jeans. Fine is also a part of Clarissa Connelly Canons group back home in Denmark, and writes music under the moniker Coined with composer and songwriter Astrid Sonne.

But Rocky Top Ballads is a turn back towards a more personal, stream-of-consciousness songwriting style. Fine wrote and recorded these songs sporadically over the course of the last few years. In light of Chinah’s collaborative, piecemeal production style, Fine craved a more organic, intuitive process for these songs. Her work on the record combines sample-based production with the sounds of instruments she and her collaborators could hold in their hands, ones that inspired free-flowing improvisation: electric and acoustic guitar, even the Ensoniq keyboard that was in her childhood home. The resulting songs are equally inspired by the country and folk of her childhood, the hazy beauty of Mazzy Star, the avant-garde pop of Dean Blunt, and the songwriting of ’90s singer-songwriters like Suzanne Vega.

Fine describes her songwriting process as a “magical thinking method”: being in contact with the present moment and pretending as if she already knows the song she’s about to write. Many of the songs on Rocky Top Ballads use the original takes of Fine’s vocals, an attempt to capture a song’s initial essence and avoid disturbing the song’s generative idea as much as possible. You can hear that well-preserved spark on songs like “Losing Tennessee,” a minimalist and wistful reflection on the inherent loss and change of growing older. She wrote other tracks, like the piano-led “Whys” and the woozy “Coasting,” through a process of cutting and layering her improvisations, carefully merging multiple musical snippets into newly seamless compositions. And the stunning closing track “A Star” is the product of a slow process of evolution: beginning as an understated expression of sincerity before dissolving into a rich, distorted guitar-driven exploration.

As a songwriter and producer, Fine’s work often peers into the universes of experience that can be hidden inside a fragmentary moment. Sometimes she explores this literally — as in “Days Incomplete,” which she built off a short sample from “A Star.” This impulse — to zoom in, to recontextualize, to excavate — threads throughout her lyrics, too. What happens, her songs ask, when we pay close attention to those everyday images and physical realities we might otherwise ignore: the sky, the rain, the sun, the sea? On the spacious and swoony “Big Muzzy,” with its gentle sway and Cocteau Twins-inflected vocals, Fine sings about watching the “summer turn blue”; the grooving, propulsive “Remember The Heart” is a love letter to the sea where she grew up. In her airy voice, Fine traces meandering melodies that continually unspool with fresh insights.

A particular mantra guided Fine’s songwriting throughout the creation of Rocky Top Ballads: “Everything has potential.” In these songs, small moments are worthy of deep contemplation, and gentleness can evoke worlds of emotion. The resulting songs offer a gift of momentary pleasure, flowing and unhurried as a gentle breeze.

Marissa Lorusso

Scala Muziek presents its second vinyl EP, Next Horizon, building on the success of the debut release. After a remarkable year of music and events, this EP embodies the spirit of exploration that defines Scala. Produced by label head Pascal Benjamin, the four tracks blend hypnotic grooves with forward-thinking soundscapes—each crafted to leave a lasting impression.

A1: Personallity opens the EP with minimalist, richly textured rhythms. Its bouncy, infectious groove and subtle shifts in bass and melody create a dynamic flow, making it perfect for both dancefloor energy and introspective moments. Pascal’s attention to detail shines through, balancing personal and expansive sounds. A2: Progress delves deeper into rolling rhythms and uplifting sonic layers, with ethereal synths floating above a driving beat. The track unfolds gradually, building momentum with a continuous, evolving motion. B1: On the flip: Shifting Grounds brings a sense of exploration, with gurgling synths and subtle modulations creating a cerebral yet physical experience. It's an atmospheric, groove-laden track perfect for late-night sessions. B2: Far From Clear closes the EP with a moody, introspective energy. Eerie vocal snippets and sharp minimalism weave together to create a haunting, mysterious atmosphere, rounding off the release with a deep dive into uncharted sonic territory. With Next Horizon, Scala Muziek offers a refined selection that showcases Pascal’s artistic growth and the label’s commitment to immersive, forward-thinking music.

After three VA's, we are proud to present the first solo ep on the Off The Grid label, courtesy of Children Of The Sun. Coming from the mind of Chicaiza, the Ecuadorian co-owner of Berlin based Kimchi Records, this project embodies a more optimistic, melancholic approach to his productions, perfectly in line with the OTG aesthetic, we are thrilled to release these tracks. The Sun God is here!

Belgian producer Uit de Hoogte returns to his own label LANK with ‘Polos’ EP, celebrating the mesmerizing art of looping in all its splendor. This release fuses loopy vocal chops, intricate chord progressions, and percussion hits, creating a collection of trance-inducing killers for the dancefloor.

The EP opens with “Pink Polo,” a hard-hitting house anthem that layers wonky chord progressions, super-saw synths, and a vocal acapella from Ye, crafting a high-energy peak time banger.

The second track, "Lazy 8" (stylized as ∞), mellows things out with a hypnotic female vocal loop of the word "octa," repeated into infinity. Driven by a relentless drum machine and a warm, woolly bassline, this track draws dancers into a deep, driving euphoria.

Side B kicks off with "Loops of XTc," a track built entirely from samples salvaged from a 90s sample CD discovered in a local thrift store. With a clever twist on cheap, nostalgic loops, Uit de Hoogte reshapes these elements into a deep, dub-infused house gem that revives the spirit of the 90s club scene.

Closing the EP is “Frida,” a dreamy house piece that brings a sense of droney introspection to the dancefloor. Gradually, the gentle hum of a Yamaha DX7 leads into a meditative Portuguese vocal, lifting the track to ethereal heights.

Made with love & hardware gear only!

SML is bassist Anna Butterss (Jeff Parker, Daniel Villarreal, Makaya McCraven), synthesist Jeremiah Chiu (Ariel Kalma, Marta Sofia-Honer), saxophonist Josh Johnson (Jeff Parker, Makaya McCraven, Nate Mercereau, Marquis Hill), percussionist Booker Stardrum (Amirtha Kidambi, Carl Stone, Lee Ranaldo, Patrick Shiroishi), and guitarist Gregory Uhlmann (Sam Wilkes, Meg Duffy, Perfume Genius). Their debut album Small Medium Large began as a collection of long-form improvisations recorded during two

separate two-night stands at beloved Highland Park venue ETA, a major development site for the burgeoning new LA jazz & improvised music sound, which unfortunately closed its doors permanently at the end of 2023.

The venue, perhaps best known outside of LA for Jeff Parker’s 2022 album Mondays at the Enfield Tennis Academy, was the perfect location for the start of SML, especially given that both bassist Anna Buterss and saxophonist Josh Johnson are in the quartet featured on that record. Small Medium Large was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and
studio composition by SML.

While editing, chopping, and rearranging stereo mixed improvisations is hardly a new concept (for a modern and relevant example we can look to Makaya McCraven’s output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like Bitches Brew, On The Corner, and Get Up With It. Stylistically though, these recordings have more in common with the proto trance repetitions of Harmonia, and with Holgar Czukay’s re-assemblage technique used in his work with Can. Throw in a supremely intuitive utilization of Susumu Yokota’s floating patterns polyrhythm concept and we have a truly entrancing take on time-clocked electronic rhythms augmenting with live percussion, yet maintaining that elusive human sway.

Ben Lukas Boysens neues Album, Alta Ripa, bedeutet eine seismische Verschiebung in seiner künstlerischen Reise. Es greift die grundlegenden Impulse seiner Jugend auf, die inmitten der ruhigen Schönheit des ländlichen Deutschlands geprägt wurden - eine bukolische Kulisse, in der seine kreative Palette aufblühte.

Doch erst sein Umzug nach Berlin in den frühen 2000er Jahren elektrisierte seinen Sound und ließ ihn mit der pulsierenden Energie der Stadt und den vielfältigen kulturellen Einflüssen verschmelzen. Alta Ripa fängt diese transformative Erfahrung ein, indem es die introspektiven Melodien seiner ländlichen Anfänge mit den kühnen, experimentellen Klängen der pulsierenden elektronischen Musikszene Berlins vermischt. Dieses Album ist ein Zeugnis von Boysens Entwicklung und zeigt, wie geografische Verschiebungen den künstlerischen Ausdruck tiefgreifend prägen können.

Bienvenue Recordings is back on wax with two originals and a deep driving remix from the home base. We are delighted to present Gratts ‘The Lifestyle EP’ via the label, a high quality addition to his plentiful repertoire of dance delights.

Gene Tellem met Gratts in the South Australian city of Adelaide in 2022 while visiting family and touring the country for some gigs. Gratts, originally from Belgium, also finds himself in the sun for similar reasons. Being from two different French speaking parts of the world, able to communicate in a familiar way but in a whole new place really laid down the vibe for this release. Songs as much for the radio as the club, for a cold wintry night or on the shores of an Australian sunset.

'Sunsets (FBI Mix)' is Gratts & Biancolato's tribute to Sydney veteran DJ Simon Caldwell's long running 'Sunsets' radio show on FBI Radio. Gratts and Caldwell DJ'ed together in Sydney on various occasions, whereas Biancolato is a veteran Melbourne DJ and producer. The track was inspired by the dubby West-Coast deep house sound from the turn of the millennium. Adelaide's Lesley Williams provides the vocal mantra.

'Sundays With U (Neapolitan Mix)' is a jazzy and percussive venture, loosely inspired by the West London bruk sound and Charles Webster. Andreas Poppelbaum, Gratts' studio neighbour in Berlin can be heard on soprano sax. The lyrics are performed by Italian friend Ambra, who delivers them in the Neapolitan dialect.

'Sundays With U (GT Remix)’ is Gene Tellem pulling at all the elements that make the original a scorcher, stretching it out, turning the stomp up, and offering a version for a deep dance floor moment. The voice, sax, atmosphere with the snap on the one. One moment it starts, and soon you won’t know how long it’s been that your eyes are closed, body moving through the room.

ÄÆ Sound is a new mysterious and futuristic silver dark project hailing from Milan produced and developed by Andrea Lazzari, a miscellaneous italian artist. ÄÆ, dropping a super groovy first track with a heavy kick, bass variations, and killer melodies perfect for the dance floor. The second track brings darker vibes, break techno variations, and well-crafted silver dark underground shapes. For the flip side of the record, ÄÆ for his very first EP launch developed two B Side tracks. The first one hits you with some UK groovy bass variations and hypnotic synths, plus some slick drum work and background melodies. The second one is a tool uk drum n bass track with a dark and futuristic sound.