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The new album from the 'DeaThrash' trailblazers CARRION VAEL. Melodic Death Metal collides with furious Trash in an essential offering for fans of Alterbeast, The Black Dahlia Murder, At The Gates and Benighted!

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

"Memorie d'Inverno" is the first collaboration album from Original Krash (Producer) & Casco aka Helmet (Performer) with the partecipation of various dope mc's and singers also the vynil exclusive include two remixes from leggendary prodcuers Dj Skizo (from Alien Army) and The Next One (from Zulu Nation and Rock Steady Crew).

"Memorie d'Inverno" is a concept album released for Outboard Music in June 22 and the title in italian stands for "Winter Memories".
The LP it's worked and founded on the classic style of Hip Hop where bassline, cuts and drums reign on the productions all made with the MPC5000 sampling original vynils. The songs are concived as a phootage of a memory, so made too survive forever in the ear of the listener. All the tracks has been mixed analogically by Matteo "Nost" Nolli at Nost Studio (excluded the two remixes made directly by the producers) with the supervision of Original Krash and the work on the sound it's an essential part of the LP and melted with the fact that most of the beats are sampled from Jazz and Soul defines the Hip Hop flavour of the album.

Thw philosophy and the work ethic behind "Memorie d'inverno" it could be perfectly resumed in the titles of the intro (True Knowledge Is The Future) and the outro (Today, Not Tomorrow) as a perfect closing circle. The message is don't waste your time around unuseful stuff and keep focused on what you like and really desire to reach, so you better tie the laces to your shoes, bust your back and study to obtain what you deserve beacuse no one is gonna do that for you.
Krash and Helmet thaks everyone who will support our business remebering to the one who hasn't already purchase the order that they really should beacuse... Italians Do It Better .

"Message From The Country was the fourth and final studio album by The Move, a British rock band that consisted of Roy Wood, Jeff Lynne, and Bev Bevan. After the release of this final studio album, the trio went on and founded Electric Light Orchestra. The influence of The Beatles runs through most of the songs stylistically, while still sounding like the first ELO album, which was recorded during the same lengthy recording sessions as Message From The Country. The Move generated what was, song for song, their most complex and challenging album. Message From The Country is available as a limited edition of 1000 individually numbered copies on white coloured vinyl. "

Message From The Country by The Move, released 12 April 2024, includes the following tracks: "No Time", "Until Your Moma's Gone", "The Minister", "The Words Of Aaron" and more.

This version of Message From The Country comes as a 1xLP.

The vinyl is pressed as a white disc.

Welcome to the sweet-but-savory, suspiciously sticky, and slightly sinful world of old-school movie theater intermission messages. It’s where big-band jazz, psychedelic rock, sequin-bedecked disco, virgin vanilla orchestrated pop, and more are pressed into service, with your satisfaction as the solitary goal! Features CD only bonus tracks!

Hey Folks! It's Intermission Time! by Something Weird includes the following tracks: "Popcorn And Candy, Yum Yum", "Lots Of Pretty Pickles", "Oh The Time Is Now, The Time Is Here", "James River Smithfield BBQ" and more.

This version comes as a 1LP on brown vinyl.

Known for classic collaborative albums with artists like J Dilla, MF DOOM, and Freddie Gibbs, widely celebrated producer Madlib is a sampling savant who has crafted beats for the likes of Erykah Badu, Anderson .Paak, Tyler The Creator, Logic, De La Soul, and many more. The California artist’s latest project is Liberation 2, his second collaboration with hip-hop icon Talib Kweli. A global call for unity through space and time, the acclaimed album features appearances by Q-Tip, Westside Gunn, Roc Marciano, Roy Ayers, Goapele, Wildchild, Pink Siifu, and more. Now, the remarkable jazz-inflected Madlib instrumentals from Liberation 2 are receiving a proper vinyl release. Following in the footsteps of past Madlib instrumental classics, this limited-edition collection features 14 compelling tracks from one of the most gifted musical minds in hip-hop history.

After a successful tour following the release of "Alors quoi!" on Bongo Joe records, accompanied by a drummer/percussionist change, the prospect of what comes next naturally arose. Elements surfaced, including a desire for more low frequencies, a fascination with the marimba/vibraphone, and a liberating indifference to the difference between recorded and live performances. To evolve, the team collaborated with outsider Kwake Bass, known for collaborations with Kae Tempest, Tirzah, Mica Levi, and others. Despite aesthetic differences from Meril Wubslin's previous albums, this divergence was seen as key—an enriching risk that resulted in a unique blend of influences. The acoustic core of Meril Wubslin now embraces electronic elements, revealing a more powerful and urban dimension. While maintaining a commitment to French lyrics, the themes explore the concrete yet remain grounded in the intimate and the sensitive, avoiding overly clear and univocal messages.

Nach einer erfolgreichen Reihe von fünf Studioalben und zwei Live-Alben, Psychedelic Backfire I und II (beide 2019), hatten Elephant9 ihre groovige Mischung aus energiegeladenem Rock und Power-Jazz so weit gebracht, wie sie konnten. In dieser Hinsicht war ihr letztes Album Arrival of The New Elders (2021) eine willkommene und sehr zeitgemäße Ergänzung ihres Schaffens. Abwechslungsreicher, reifer und nachdenklicher, groovig wie eh und je, aber strukturierter und weniger jamorientiert, was ihnen eine 9/10-Rezension in Uncut und einen Platz in der Liste der Alben des Jahres einbrachte, in der ihre telepathische Gemeinschaft hervorgehoben und mit "this is an Elephant9 you'll never forget" geschlossen wurde. Jazzwise, Shindig, Prog, Electronic Sound, The Quietus und einige andere stimmten dem zu. Mythical River ist auf die gleiche Art und Weise geformt und ein natürlicher Nachfolger, mit sechs herausragenden neuen Kompositionen von Keyboard-Maestro Ståle Storlokken, gerahmt durch zwei kurze kosmische Einwürfe. Von hypnotischen und magischen bis hin zu messerscharfen und polyrhythmischen Stücken ist dies ein weiteres starkes Werk eines Trios, das sich auf der Höhe seiner Zeit befindet. Es wurden Vergleiche mit Bands gezogen, die bis in die sechziger Jahre zurückreichen, aber mit den letzten Alben erscheinen Elephant9 als eine durch und durch zeitgenössische, zeitlose und sogar futuristisch klingende Band. Ståle begann seine musikalische Reise mit Vespestad und Henriksen, die sich bald zu Supersilent mit Helge Sten an Bord entwickelten. Stale is zudem Mitglied von Hedvig Mollestad Weejuns, Moster! und Humcrush und hat mit einer Reihe von weiteren Acts, vor allem mit Motorpsycho, zusammengearbeitet.

Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

We Are Messengers embraces gratitude and the simplicity of the Gospel on 'Where The Joy Is', radiating as much exuberance as the title suggests

Their fourth studio effort boasts ten pristine, arena- ready pop selections co- written by frontman Darren Mulligan and includes the lead track "God Be The Glory" and faith-affirming "A Thousand Times," plus collaborations with Ben Fuller and Blanca.

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

The five song blessing gives a further insight into the frankly deranged production of bassist/producer Gianmarco Guerra, who served as the sole producer and one of three engineers for the record. Songs like "(Quietly) Do The Right Thing" and "29" continue to show Soul Glo's affinity for speed as a vehicle for their aggression and messages, while songs like "I'm On Probation" and the previously released "Mathed Up" shows the bands love of chaotic-yet-atmospheric noise and the most popular rhythmic vocal styles of today's current rap on top of the pummelling heaviness of the drums of TJ Stevenson. EP featuring a silkscreened b-side.

Monika Enterprise welcomes a new act to her roster with Berlin based experimental pop duo Post Neo releasing their new EP. Individually known as Nicole Luján and Pauline Weh, both musicians pursued their own solo projects before forming the duo Post Neo. On “Alles Immer Wieder” they combine as more than the sum of their parts to produce 5 songs of dark and powerful experimental avant- pop which is released as an exclusive 10” vinyl.

Pauline and Nicole met making music in Berlin during the summer of 2019 and kept collaborating online, until Nicole moved to Berlin in 2022. The musicians' different musical backgrounds result in diverse intuitions which complement each other perfectly when producing tracks together - Nicole was more into synthesis and electronic music production in Mexico City while Pauline received a classical piano education in Munich before she started doing electronic music.

In 2022 they released their first EP, «do you?», which consists of five tracks that were composed and produced as an inter-continental project between Berlin and Mexico City. In autumn of that year Post Neo received a residency at Sternhagen Gut from Musicboard Berlin where they caught the ear of monika head Gudrun Gut who was so taken with their compelling mix of techno beats and dreamy melancholic atmospheres she immediately signed them to her label.

The EP’s opening and title track “Alles Immer Wieder” (trans. Everything again and again) is a reflection on repetition and monotony as transcendence in the form of sleep, dreams, work and other daily cycles. The rhythmic juxtapositions and tempo shifts make for a captivating opening track. “Ganz Schön Was Los” (trans. A lot happening) has a proper synthwave electro pop vibe while the vocals lend a little light hearted humanity to the otherwise calculated computer music aesthetic. With its fusion of synthesizers and drum machines track B1 “Die Verwirrung” (trans. The confusion) brings a sense of melancholic doom. The flow of B2 “Wenn Wir Wüssten” (trans. If we knew what would happen) is a future-focused reflection on the unidirectional movement of time's arrow. Sampled harmonies and instrumental breakdowns make it possibly the most emotive track on the EP. And the record comes to a close with “Dreh dich” (trans. Turn around) which lures us in with delicate vocals before menacing synthesizer sounds blast us into oblivion. It is an invitation to turn the record over and start listening from the beginning again.

Post Neo’s music is steeped in minimalism: at once managing to be hugely expressive and evocative while still retaining a sense of privacy and mystery for the listener to decrypt. Like all great pop music their songs are musically captivating while also conveying a strong message. As their band name suggests, Post Neo are essentially futuristic and with live shows at some of Berlin’s hottest underground venues under their belt as well as in their hometowns of Munich and Mexico City, plus the release of „Alles Immer Wieder“ in 2024, great things are in store for the electronic pop duo.

The Nomads remastered reissue of their album Solna, recorded by the Swedes in 2012, limited edition of ww 500 copies. The tracklist here is following the 2013 US release of the album, comprised of nine original album album tracks, but cutting three tunes to have those replaced with three songs culled from the Loaded Deluxe EP. After many years of career, The Nomads produced their strongest album to date. The group perfected their sound, live and in the studio. Solna is the distilled essence of what Nomads are known for. The Nomads deliver hair-raising authenticity of rock and roll with unsurpassed purity. Nobody coughs on them or will cough on them. They are still as good as ever. The formula is simple: a strong frontman, Nick Vahlberg, a guitar hero, Hans Ostlund, a powerful drummer, Joakim Werning, and a multi-talented bassist and composer, Bjorne Froberg. The Nomads are an institution in Europe after more than 40 years of career. Their last album, "Solna" was named after the Stockholm neighborhood from which they emerged in 1981, paving the way for the garage rock scene of the time. "Aside from the Pebbles compilations, not much was known about the garage bands of the 60s and many people first heard those great songs in The Nomads version," according to Chips K (famous Swedish producer - Hellacopters, la Secta_- and member of Sator). "But one thing that distinguishes the band from many other revival bands is that they never just copied the sound of the originals. They added extra influences such as punk, power pop and hard rock. That special recipe is what still makes their sound unique." Bands like The Hellacopters, Maharajas and Sator are direct descendants of what The Nomads created. They were closer to Australian punk rock and took varied influences to create something completely their own.

Zurich bass guitarist and composer Martina Berther is known for her delicious basslines in experimental rock outfits Ester Poly and AUL. On this solo debut, she conjures something utterly unique from her instrument.

'Bass Works' showcases Berther's talent and ingenuity across 12 startlingly varied one-take compositions. Taking root in improvisation, the collection unfolds like a playbook of strange and beautiful techniques.

Voided melodies, harmonics and surfaces that prickle and collapse in solitude and wonder; Berther's bass is a Geiger counter, etching the contours of abandoned landscapes and forgotten languages.

Recommended if you like the alien transmissions of Éliane Radigue, Mica Levi, Olivier Messiaen.

MAGNOLIA PARK, the Florida based genre-bending alternative rock band who play more than 200 shows a year, are releasing their third album, entitled HALLOWEEN MIXTAPE II. The band"s following has grown substantially in the past year (with over 710k TikTok followers/63M views, 187k Instagram followers), as they move from opening slots on tours with everyone from Sum 41 to Simple Plan, to sold out headline tours and top slots at festivals including When We Were Young (LV /Oct 23), Reading / Leeds Festival 2023 (UK). It"s no secret that Epitaph Records has been the breeding ground for some of the most legendary bands in existence and MAGNOLIA PARK carry on in that tradition. Since forming in Orlando, Florida, in 2019, the five-piece act-vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and keyboardist Vincent Ernst-have released two albums, three EPs, and a handful of singles, bringing their upbeat brand of alt-rock to the masses. While MAGNOLIA PARK"s music is at times lighthearted, the ethnically diverse band are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression. "Our goal when we"re together is to make sure the next generation doesn"t have to face as much racial backlash for being a rock band," Torres explains. "In the industry, people look at us a certain way and try to impose things on us-and we want to make sure the next generation of rock bands don"t have to go through what we"ve been through."

Sie sind die größte Band, von der Sie noch nie gehört haben. Unbesungene Helden, deren Musik politisch und spirituell war und ihrer Zeit um Generationen voraus. Ihre Geschichte ist nie erzählt worden. Bis jetzt... Cymande, eine Gruppe schwarzer britischer Musiker, die alle als Kinder aus der Karibik nach Großbritannien gekommen waren, veröffentlichten Anfang der 70er Jahre kurz hintereinander drei brillante Alben und wurden in den USA begeistert aufgenommen. Doch im Vereinigten Königreich sahen sie sich mit einem Musikgeschäft konfrontiert, das von Vorurteilen gegenüber einheimischen schwarzen Talenten geprägt war, und wurden weitgehend ignoriert. 1975 lösten sie sich auf. Aber ihre Musik lebte weiter, da nachfolgende Generationen von Künstlern und Fans ihre Songs entdeckten und sich für sie begeisterten.

Die brandneue Neuauflage des bahnbrechenden selbstbetitelten Albums der Band, Cymande, wurde 2022 in den Abbey Road Studios neu gemastert.

In diesem Jahr kommt die gefeierte Cymande-Dokumentation "Getting It Back: The Story Of Cymande" in die britischen und internationalen Kinos. "Getting It Back" wurde unter der Regie von Tim Mackenzie-Smith gedreht und enthält Interviews mit einer ganzen Reihe von Musikern und Produzenten, die beeinflusst und begeistert sind von der Musik Cymandes, darunter Mark Ronson, Jim James, Kool DJ Red Alert, DJ Maseo und Louie Vega.

The identity of Deep Drive comes in large part from the way Zummo moves through the world. Using his smartphone, he records daily fragments: of daydreams and conversations, signage and slogans, moments that that strike him as insightful, odd, amusing, thereby creating a sonic collage of rhythms, melodies and voices. His deep baritone is imbued with laconic humour, and Deep Drive's track titles riff off his messaging. "Prepare For Docking" refers to the Staten Island ferry and the spectacle of humdrum city movements, but also suggests the nautical deep or even extraterrestrial life, with otherworldliness woven deep into the sound. "It's not a recital," says Zummo, of this way of working, "it's a movie." Deep Drive, then, is an album about the totality of the artistic process, seen from a generous and honest vantage point. The record was recorded in Copenhagen alongside Mabe Fratti, Sebastian K, Peter Broderick and Joseph Carvell

Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.

The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.

La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.

La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.

La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.

One could be forgiven for getting that familiar feeling when listening to the music of Ghost Woman. And that's not just because songwriter & multi-instrumentalist Evan Uschenko is deeply steeped in classic guitar-led rock & pop songwriting (more on that later), it's that the music was, by design, intended to be evocative. But not evocative, however, of any one thing; what separates the music of Ghost Woman from a great many other bands working today is his openness to non-specificity. He's not trying to impart any sort of message to the listener; instead, the hope is that one will find themselves luxuriating in nuances of how the music is delivered, and the feelings it stirs up for each individual.

For the past couple of years Ghost Woman has been Evan Uschenko's outlet for his interest in songwriting and recording, which began after a number of years spent playing as a sideman in various Canadian indie ensembles, most notably in the Michael Rault band, a group that displays a similar affinity for perfectly dialed, partially yesteryear-looking guitar pop. Following 2022's self-titled


debut, issued by UK-based Full Time Hobby to great critical acclaim, Anne, If presents a slightly more expansive vision of what Ghost Woman can offer.

High Llamas present Hey Panda - a modern pop music/deep listening experience that could only issue forth from their personal quadrant of the galaxy. Hey Panda projects soulfully through an enervating abstract of today"s popular music; the sound of the Llamas" stately melodies and expressive ditties laid open - blissfully shattered - with drums and vocals hitting different, burning sounds and contemporary production twists pulling the ear at every turn. For the past few decades, High Llamas have trafficked in contemporary pop sounds directed toward the avant end of the spectrum as much as not. But here the message was clear. Llamas" composer-in-residence Sean O"Hagan was determined to let go. Hey Panda does just that, with a set of tunes reflecting on multiple levels how definitions change over the course of a lifetime, radiating an optimism derived from the diverse conundrums of today. Eight years since their last release, the pop musical Here Come The Rattling Trees, High Llamas have reinvented themselves again, mixing their peerless harmonic voice with what Sean regards as the "extraordinarily good" production sounds of today on Hey Panda. Choosing not to look backward to former golden ages celebrated in earlier Llamas eras, Sean"s instead found himself opened up by the sounds of music brought into the house by his adult children and the sounds encountered at sessions for which he"s recently written arrangements. In addition to the more traditional contributions he made to The Coral"s Sea of Mirrors album, plus his score for the Safdie brothers" 2022 film production, Funny Pages, Sean"s drawn great inspiration through working with Fryars, Rae Morris, King Krule, Pearl and The Oyster, while also soaking up the work of Tierra Whack and Chicago"s Pivot Gang, and being cheered on from a distance by longtime admirer Tyler The Creator. Thus, Sean"s producer procedural has evolved again, with upgrades first detected in his 2019 solo effort, Radum Calls, Radum Calls. With a cover of Billie Eilish"s "Wish You Were Gay" arranged for Bill Callahan and Bonnie Prince Billy"s Blind Date Party, along with his COVID-era solo single, "The Wild Are Welcome", Sean has leveled up again and again, leading to the delirious revelations of Hey Panda. Hey Panda"s wide reach is aided by two co-writes from Bonnie "Prince" Billy, (who bonded with Sean over a shared love of gospel soul during writing sessions), guest vocals from Rae Morris and Sean"s daughter Livvy, production twists from Fryars and the stalwart, flexible presence of High Llamas. For all of its sense of departure, Hey Panda is a movement in the High Llamas oeuvre that"s been a long time in development. Aspects of soul music were addressed at the time of Can Cladders; similarly, aspects of electronic dance music were in the mix in the late 90s, around the time of Cold and Bouncy. But nothing up to now has refocused the music of High Llamas so completely. Sharing the impulse of late-period Miles Davis and Quincy Jones, with further inspiration from Steve Lacy, SZA, Sault, No Name and Ezra Collective, among many others, Sean O"Hagan and High Llamas are living joyfully in the new and the now, with Hey Panda.

Vom HEXWORKS Art-Team entworfene Deluxe-Ausgabe des OST für das Action-RPG "Lords Of The Fallen" (2023), sorgfältig für 180g Triple-Vinyl gemastert. Die mehrfach preisgekrönten Komponisten Cris Velasco und Knut Avenstroup Haugen erzeugen ein aufwändes Dark-Fantasy-Meisterwerk zwischen romantischer Oper, Mozarts Requiem-Messen, dissonanter Klassik des 20. Jahrhunderts und großartigen Horrorfilm-Soundtracks. Teils live aufgenommen mit dem Budapest Scoring Orchestra & Choir, den Solist*innen Eurielle und Jess Dandy, dem Solocellisten des London Symphony Orchestra, David Cohen, und dem Flötisten Tony Hinnigan (bekannt aus Hollywood-Scores wie "Titanic" und "Avatar").

Feinster Oi!/Streetpunk aus vier Ländern (US, CAN, IR, GER) trifft sich hier auf einem Album. Jeweils drei neue, unveröffentlichte Tracks liefern die vier Combos hier ab. Die beiden LP-Seiten teilen sich RED BRICKS aus Hamburg, THE UNCOUTH aus Kansas City, AN SLUA aus Gaillimh sowie RECKLESS UPSTARTS aus Ontario mit je drei Songs. Die Bands eint die Verknüpfung aus anti-rassisitscher, antifaschsitischer Attitüde und dem rauen Sound der Straße mit Working-Class-Mentallity und einer derben Prise Oi! Veröffentlicht in Kooperation mit Insurgence Records (Kanada). Klassisch schwarzes Vinyl!

This is tenor saxophonist Hank Mobley’s first release on the Prestige label, after one previous Blue Note release. Here he is joined by Donald Byrd (trumpet), Barry Harris (piano), Doug Watkins (bass) and

Art Taylor (drum) with a guest appearance from Jackie McLean (alto saxophone) on one track. As one might expected, the program is quite « be boppy »,

with the band running through bop standards like Bud Powell « Bouncing with Bud », Monk’s « 52nd Street » and Parker’s « Au Privave ». Mobley’s supremely confident solos are

highlights of these tracks and he swings through the rather plain arrangements of « Bouncing with Bud » and « Au Privave » , with exceptional phrasing and melodic finesse, through Byrd’s and Harris’s solos as satisfying as well.

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

Red Vinyl

Intranced bestehen aus Musikern der jüngsten Classic-Metal-Welle, die an der US-Ostküste aufgekommen ist (Mitglieder von unter anderem Fortress und Poisoned Chalice), und Sänger James-Paul Luna (ehemals Holy Grail und White Wizzard). Die Band gehört nach nur einer EP und Single zu den heißesten Newcomern der Szene.

Den Grund dafür erkennt man, wenn man die sechs Stücke ihres Erstlings Intranced (2022) und die zwei Songs von Rogue Warrior (2023) hört, denn das Quartett aus L.A. vereint schillernde Musikalität mit erhabenem Songwriting, was ihre Musik im Grunde genommen vom Start weg unverwüstlich macht.

"Ich wollte ein Old-School-Metal-Projekt starten, das immer noch ein Rock-Feeling aufweisen sollte", erklärt Sänger Luna. "Wie zu der Zeit, als sich Hardrock langsam in Metal verwandelte, aber immer noch Groove, Funk und Boogie enthielt." Ob traditioneller US-Power-Metal in Verbindung mit Rock'n'Roll-Großspurigkeit wie in ‚Upside Down', die Punk-Attitüde des ansonsten wehmütigen Epos ‚Dream Lover' oder die rasante Band-Hymne ‚Intranced' - Intranced setzen die Messlatte mit ihren ersten acht Songs unglaublich hoch an.

Die von einem Cover des legendären Künstlers Michael Whelan gekrönte EP ist nun zum allerersten Mal auf Vinyl erhältlich, inklusive Rogue Warrior als Bonus, um die Zeit bis zur Veröffentlichung von Intranceds erstem Album im Laufe des Jahres 2024 zu verkürzen.

This EP was one of the fastest selling records we have released in the last few years and more importantly it marked the triumphant return of Messiah to the rave scene! All three remixes are just sublime but don’t take my word for it, listen to the sound clips. All of the artists involved brought their A-game and then some for this, quite frankly, gorgeous slice of wax.

Following the success of the "Out Of Luck" single, we're wrapping up the Ghia reworks chapter with "The Other Side" - a dynamic 12" vinyl loaded with three contemporary funk tracks and three instrumental cuts.

The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.

Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.

The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.

Epischer, gewaltiger Doom mit Anspielungen auf Candlemass, Bolt Thrower, My Dying Bride und Iron Maiden! Die US-Doom-Crew Stygian Crown aus Los Angeles kehrt mit ihrem lang erwarteten zweiten Album 'Funeral For A King' auf dem etablierten Label Cruz Del Sur zurück, einer beeindruckenden LP, die auf der Grundlage von epischem Doom- und Death Metal basiert. Der Nachfolger ihres vielbeachteten Debüts aus dem Jahr 2020 bleibt dabei der weitläufigen Doom-Vorlage der Band treu, die auch Elemente des klassischen Metal und Death Metal enthält, aber driftet gelegentlich auch in traditionelles Metal-Territorium ab. Das Album wurde in fünf verschiedenen Studios von Los Angeles bis Melbourne, Australien, aufgenommen. Neben dem CD-Jewelcase gibt es auch eine schwarze Vinyl inkl. Download uns Poster.

Rock Hard:
"...Für den Zweitling hat der Fünfer seine selbst proklamierten, allerdings bereits auf dem Vorgänger höchstens marginal heraushörbaren Death-Metal-Einflüsse noch weiter zurückgestellt. Hier regieren Doom- und Epic Metal in Reinstform. Einen charmanten Farbtupfer setzen die im kurzen Intro ´Let Thy Snares Be Planted´ sowie dem anschließenden Longtrack ´The Bargain´ zum Zuge kommenden Streichinstrumente, die dezent und nicht selbstzweckhaft eingesetzt werden, während der Fokus auf den schweren Gitarren und der fantastischen Arbeit von Sängerin Melissa Pinion verweilt. Was für ein Auftakt ins Doom-Jahr 2024!"

Chaka Khan had lit the world on fire as the frontwoman for Rufus, tearing up the charts with hits like “Tell Me Something Good” and “You Got The Love,” picking up several Grammy awards on the way. She set out on her solo career with this collection in 1978, leading the way with the hit “I’m Every Woman,” which propelled the release to be certified platinum in the US and earn her another Grammy® nomination for best R&B vocal performance.

In November of 2023, she will be inducted into the Rock and Roll Hall of Fame at the end of a year that marked her 50th in the business. In 2024, we will launch a campaign to reissue her solo records, some physically, some digitally only, starting with the self-titled Chaka, which will feature a new remix of “I’m Every Woman” by DJ Rashida featuring Sheila E., liner notes from Emmy-winning journalist Kelley Carter, and bonus tracks from the original sessions.

"Das größte Problem, das die Kunst heutzutage hat, ist, dass sie nicht mehr weh tut", sagt GHØSTKID-Sänger und Provokateur Sebastian "Sushi" Biesler. "Vor allem hier in Deutschland haben die Leute so viel Angst davor, Grenzen zu überschreiten. Kunst zu machen, die zum Nachdenken und Fühlen anregt." So ist es nicht verwunderlich, dass Sushi und Co. mit dem zweiten Album von GHØSTKID, HOLLYWOOD SUICIDE, die Grenzen ihres Heimatlandes verlassen haben, um ihren energiegeladenen, hakenreichen Nu-Metalcore weiterzuentwickeln. Das Ergebnis ist ebenso aufrichtig wie musikalisch ambitioniert und klanglich makellos. GHØSTKID liefern Goth-Nu-Rock-Core, der die ohnehin schon hohe Messlatte, die GHØSTKID 2020 mit ihrem selbstbetitelten, von Pandemie überschatteten Century Media-Debüt gelegt haben, noch höher legen wird. Von den Trap-Metal-inspirierten Beats und dem erdrückenden Metalcore-Riffing, das den Titeltrack des Albums eröffnet, bis hin zu den beunruhigenden Melodien des elegischen Schlussstücks "Helena Drive" ist "HOLLYWOOD SUICIDE" ein perfekter Schnappschuss eines Künstlers, der aus seinen eigenen persönlichen Trümmern vor einem zerfallenden, mythischen kalifornischen Milieu kriecht. "HOLLYWOOD SUICIDE" ist erhältlich als: transparent-rote 180g LP

96kHz - 48-bit HD Audio with digital booklet including original photography by Christopher Kayfield and liner notes by Shaun Brady.

Pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart reunite for a second, scintillating trio date, BRIDGES, featuring original compositions by Hays and Hart with classics by Wayne Shorter, Bill Frisell, The Beatles, and Milton Nascimento.

Hays Street Hart, the trio of pianist Kevin Hays, bassist Ben Street, and legendary drummer Billy Hart, recorded their acclaimed 2021 debut, ALL THINGS ARE, under less than optimal conditions. The album began life as a performance in honor of Hart’s 80th birthday in December 2020, live-streamed from an empty Smoke Jazz Club in the final weeks of that grueling pandemic year. Despite those adversities, the music they created that night was spectacular enough to convince all involved that it should be released.

Two years later, the trio has reconvened, this time fully cognizant that they were going to record an album at Sear Sound Studios in NYC. The captivating BRIDGES brilliantly spotlights the unique chemistry and shared spirit of exploration that emerged fully formed on that initial impromptu session. The title succinctly hints at some of the reasons why Hays, Street and Hart work so well together: this is a trio that bridges generations, certainly, as well as a wealth of diverse experience and inspiration. But it also sums up a mutual desire to bring people together through music.

“In this world that seems to be crumbling beneath our feet,” Hays explains, “we sense the need to make allies where there might be adversaries. On the most intimate level, interpersonally and inter-psychically we set out to overcome any number of misunderstandings and adversarial situations.”

Not that there was any antagonism to overcome within the trio itself. More than anything, Hays Street Hart is a mutual admiration society of the highest order. The esteem in which the pianist and bassist hold Billy Hart likely goes without saying. The drummer was ordained in 2022 as an NEA Jazz Master, just one of the many honors he has chalked up over a breathtaking career. He began his career with an apprenticeship under the revered vocalist Shirley Horn and went on to make notable music with such luminaries as Miles Davis, McCoy Tyner, Herbie Hancock, Wes Montgomery, Jimmy Smith, Stan Getz, and as part of the quartet Quest featuring David Liebman and Richie Beirach.

But Hart is if anything, even more laudatory toward his younger bandmates. Street has been a member of the drummer’s stellar quartet for two decades, alongside pianist Ethan Iverson and saxophonist Mark Turner, a tenure that speaks for itself. As for Hays, Hart is quick to place the pianist in the exalted company of some of his iconic former collaborators.

“I’ve been lucky enough to have the chance to perform with Herbie Hancock and McCoy Tyner,” says Hart modestly. “Each generation presents their own equivalent, and Kevin is an example of the latest innovations. There was Herbie and McCoy, then it was Chick Corea and Keith Jarrett, and then you have what's coming next. I think Kevin is definitely part of that continuum.”

Though Hays sticks strictly to the piano on BRIDGES, he is also an accomplished singer whose vocal instincts fuel his inventive and lyrical melodicism. Street points to those facets as key to the connection between the pianist and Hart, who has enjoyed several meaningful collaborations with vocalists.

“It always seems to me that Kevin has the capacity to sing in his mind and then accompany himself on the piano,” Street describes. “That makes for such a nice connection with Billy, who has played with and learned from so many singers. I don't even feel like we're playing as a piano trio most of the time; it feels more like a quartet.”

Those qualities are especially clear on Hays’ “Butterfly,” which opens the album. Though it’s performed here as an instrumental, the pianist has composed lyrics for the piece, and its gorgeous, song-like quality shines through. Hays also contributed the breathtaking ballad “Song for Peace,” highlighted by Hart’s gentle, embracing brushwork and Street’s sturdy, stentorian tone. The pianist’s third original, “Row Row Row,” is constructed on a twelve-tone row, but as the playful title suggests, it has none of the more stringent qualities of the serialist composers.

Hart’s stunning “Irah,” originally recorded on his quartet’s self-titled 2006 debut, is dedicated to the composer’s mother and was recorded at Street’s suggestion. The bassist also brought guitarist Bill Frisell’s reflective “Throughout” to the date, imagining Frisell’s Americana influences would resonate with the similarly inclined Hays, who approaches the tune with a harp-like beauty. Hays’ love of pop and rock music is also reflected by the inclusion of The Beatles classic “With a Little Help from My Friends.”

The trio pays tribute to the late, great Wayne Shorter with “Capricorn,” originally released on the composer’s 1969 Blue Note album SUPER NOVA and later included on the Miles Davis Quintet set WATER BABIES. Hart called Shorter one of a kind. I think of the many times I heard him excel – with the Maynard Ferguson Big Band, with Art Blakey's Jazz Messengers, with Weather Report. And in each case, he was innovative.”

BRIDGES closes with the title track, a dazzling piece by the great Brazilian singer and songwriter Milton Nascimento, which Hays calls “one of my favorite compositions ever, by anybody.”

BRIDGES was recorded under ideal studio conditions by a now-established trio with a weeks-long European tour under their belts. Perhaps what’s most remarkable about the album is not that Hays, Street, and Hart play so masterfully together – with three artists of their caliber, who could expect any less? – but that this second outing maintains the bold spirit of inquisitiveness and spontaneity that its predecessor naturally possessed. Credit that to a trio perpetually determined to discover new bridges worth building.

'Moments Remixes' began from a conversation with Jlin. We did an interview together for Talkhouse in fall of 2019, in season with the original Moments release on Unseen Worlds. Her poignant and effusive dialogue sparked the inspiration for us to do a remix together. That organically evolved into a full project idea. Xiu Xiu did the second remix in January 2020, and before things continued further - the pandemic was upon us. During the course of the pandemic, it evolved more, and organically became a more focused project for the isolation and lack of in-person collaborative environments/performance halls. All of but one remix were completed by 2021, and then refined and curated further over the following (four) years. The highlighted dialogue across the album is how these sparse, melodic minimalism of piano and vibraphone could manifest in a diversity of experimental sub-genres: electronica, IDM, avant-rock, drone/ambient. The careful curation and illustrative collaborators elicit the transportive 'new moments' and permeable qualities of the core compositions, that discover uncharted life in this project. (Michael Vincent Waller, October 2023)

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Repress!

Official re issue of this timeless classic featuring a fantastic update from Australia's Late Nite Tuff Guy - Tuff Cut Records. Their version has already had 62,000 plays on Soundcloud.

In LNTG own words of how their "No More War Rework" came around :

About 6 months ago, just before I set off on my 5 month tour of Europe I got a message from a good friend of mine asking me if I would edit a track that he loves.
I said of course, and asked him what track.
Turns out its a big favourite of mine also.
'Why Can't We Live Together' by Timmy Thomas is an amazing song with a strong message that is even more relevant today than it was back in 1972.
The message is clear, it's simple, it's beautiful.
I'm saddened by recent events around the world and I've always tried to spread love through music, because for me, music is love.
I hope you share the message and enjoy.
LNTG <3

Berlin, 20 August 2023 – In a world where music serves as a gateway to explore the intricate dance between reality and imagination, Shkoon, the innovative germany-syrian musical group, presents their newest single, "Al-Furat." This release is a captivating addition to their upcoming album, a collection that masterfully blurs the lines between the tangible and the ethereal. Its the first single of their 10 Track Album being released on 16st of November followed by a big concert tour.
"Al-Furat" is not merely a song; it's a satirical exploration of life's complex game. With a wink to the audience, the song invites listeners to look beyond its surface and decipher the layers of meaning hidden within. At the heart of it, "Al-Furat" beckons the audience to find what resonates with them, to uncover the deeper messages that lie beneath the harmonies and rhythms.
A Harmonious Blend of Emotions
Crafted with a touch of irony, "Al-Furat" humorously contrasts the declarations of love for one's homeland with the journey of Ameen, the protagonist, as he navigates the game-like challenges to reach France. It's a juxtaposition of joy and sorrow, presented through cheerful melodies and thought-provoking lyrics. This blend of emotions adds depth to the song, making it not just a musical piece but a thought-provoking experience.

Blurring the Boundaries
Shkoon doesn't stop at melodies and lyrics; they expertly play with boundaries. The video showcases Thorben crossing borders with a French baguette, a clever visual metaphor that challenges stereotypes. The inclusion of French demonstrations further blurs the lines between art and reality. It's a deliberate move that asks the audience to question their perceptions and assumptions.

Art with a Message
As with their previous works, Shkoon's "Al-Furat" carries a hidden message—a critique and commentary on societal norms and expectations. It's a call to look beyond the surface, to recognize the dual nature of art as both entertainment and a mirror to society. Shkoon's ability to weave such messages into their work is a testament to their artistry and depth.

The Album
After Rima (2019) some singles, EP’s and their touching live album “FIRAQ” (2022) Shkoon is coming up with another concept album “Masrahiya” which is arabic and stands for theater play. Shkoon created a strong message again, with a diverse piece of art combined with an album concert tour.

This play 'Masrahiya' delves deep into the blurred boundaries between reality and fiction, where the lines of truth and imagination intertwine like a mesmerizing dance. As the three captivating chapters unfold, tragedy, politics, and irony are seamlessly woven together, creating a tapestry of emotions that leaves the audience spellbound.5

Anastasia Zems lands on Alzaya with a new EP resulting from a self-reflective journey marked by hypnotic electronic rhythms that echo the passage of time and the change of life.

ALZC03 – Atlantika EP is a rolling cycle of inspiration, mirroring new experiences and sonic explorations that oscillate from warm memories to dark atmospheres aligned to current events. The EP ends by inviting us to slow down, reinterpreted in a separate track by Eklektique, who uplifts its essence and message.

Pastel de Nata is a track resonating with trance-tech rhythms to evoke warm and welcoming memories in a new home that smells of the Atlantic Ocean.

With Bairro Alto, the piece evolves, wandering and experimenting with old-school trance soundscapes across borders—a memento of the past days spent in local record stores searching for new rhythms.

Casa Amarela tunes into a dark, oppressive atmosphere pronounced by classic acid and arp-bass sounds. A symbol of sorrow and pain tuned to the current times.

The hypnotic, acid, mid-tempo sound in Push The Tempo Down stands high in the sky to remind and invite us to slow down before rising again.

Push The Tempo Down Remix is a unique reinterpretation by Eklektique, injecting hypnotic and acidic components crossed with a groovy bass line to reinforce the track’s essence and message.

High Roller Records, reissue 2024, 180g black vinyl, ltd 500, lyric sheet, poster, original 1987 sound! specially mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, 180g black vinyl, ltd 500, insert, poster, original mix with all interludes between the Songs! Original 1986 sound !!! Specially mastered for vinyl by Patrick W. Engel at Temple of Disharmony!

"Worship Me or Die! is the 1987 debut studio album by heavy metal guitarist and violinist The Great Kat. As a Juilliard School alumnus, it’s no surprise that she’s best known for her thrash metal interpretations of well-known pieces of classical music. Her classical background, technical skills and self-promotion are sometimes compared to Yngwie Malmsteen. The album Worship Me or Die! includes the track “Metal Messiah”, which remains one of her most popular tracks to date. For the first time since its original release, Worship Me or Die! is being reissued. A limited edition of 1000 individually numbered copies is available on silver coloured vinyl, which includes an insert."

Worship Me Or Die! by The Great Kat, released 15 March 2024, includes the following tracks: "Death to You ", "Worship Me or Die! ", "Speed Death ", "Ashes to Dust " and more.

This version of Worship Me Or Die! comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a silver disc.

Ultra rare modern soul/rare groove scorcher "It'll All Come Around" on the A side with funky cinematic soul from Love Unlimited Orchestra on the B. Only 250 copies made.

Der mehrfach mit dem GRAMMY Award ausgezeichnete Bass-Virtuose und Sänger, Thundercat, wird am 1. März 2024 eine ganz besondere Deluxe-Edition seines zweiten Albums, „Apocalypse“, veröffentlichen, das sein zehnjähriges Jubiläum seit der ursprünglichen Veröffentlichung im Jahr 2013 feiert.?? Die Neuauflage enthält zwei bisher unveröffentlichte Tracks, „Before I Loved Myself ‚I‘ Pooped My Ankles (True)“, aufgenommen mit Austin Peralta und Taylor Graves, und „Paris“ (mit Mono/ Poly). Die Deluxe-LP enthält außerdem ein spezielles holografisches Regenbogen-Artwork in einem transparenten PVC-Schuber mit einer holografischen Röntgen-Aufnahme seines Schädels.?? Vollgepackt mit Perlen wie den zertifizierten Klassikern „Heartbreaks + Setbacks“, „Lotus And The Jondy“, „Tron Song“ und dem kosmischen Funk-Geschoss, „Oh Sheit, It's X“, bringt Thundercat eine Fusion aus Pop, Soul, Electronica, Prog-Rock und Funk in eine unerforschte Dimension mit seinen charakteristischen Basslines, die himmelhoch schweben und auf den astralen Touch des Executive Producers Flying Lotus treffen.

Ankommen - bei sich und in der Welt, trotz aller Widrigkeiten. Das vierte Studioalbum von Benne ist ein packendes Werk an Eindringlichkeit und Empfindungskraft.
Manchmal schreibst du nicht ein Album. Sondern das Album schreibt dich. Umstände ändern sich. Das Leben wechselt die Richtung und nichts mehr scheint wie zuvor. Was tun, wenn deine Welt zusammenfällt - und im neuen Normal noch so viel Krise steckt?

Das vierte Studioalbum "Zuhause" von BENNE handelt von Wandlungen in Zeiten von Widrigkeiten. Es geht dem Gefühl nach, heimisch zu werden. Ein Zuhause zu finden, in sich selbst und in der Welt. Trotz aller Widerstände, die das Leben bereithält.

Es erzählt von Menschen, die uns bewohnen. Auch wenn sie nicht mehr bei uns sind. Von den Versuchen und Versuchungen, die zwischen Freiheit und Verbundenheit liegen. Von schierer Freude und tief empfundenem Verlust.
"Zuhause" widmet sich dabei den Zweifeln und Ängsten, die unser Innerstes bewegen, wie auch den fast unscheinbaren Veränderungen, den feinen Haarrissen in unseren Beziehungen. Mal beobachtend, mal biografisch erzählend ist "Zuhause" das bislang persönlichste Album. Ein packendes Meisterwerk an Eindringlichkeit und Empfindungskraft.

Geprägt haben BENNE im Schaffensprozess insbesondere der Verlust der eigenen Stimme und der Tod eines nahestehenden Menschen. Jede Silbe, jeder Ton ist somit gefühlt und gelebt. Von herzzerreißenden Balladen wie "Hula Hoop" oder "Alles erlaubt" bis zu bewegenden Up-Tempo-Stücken wie "Lichtjahr" und "In the air tonight" besticht das Album durch seine musikalische Vielseitigkeit.

Dabei schimmert eine mutmachende Message durch: Die Möglichkeit, am Ende aus jeder persönlichen Tragödie einen Triumph machen zu können. Dem Leben doch ein letztes "Ja" zuzurufen. Mal lauter und nach außen dringend, mal leiser, ganz in sich gekehrt, nur zu sich selbst. Aber ein Zuhause ist immer auf dem Weg.

After 2021’s critically acclaimed album “Afraid To Leave”, Berlin based post-punkers Bleib Modern invited artist friends to take an outside perspective on their tracks, resulting in the “2 Afraid 2 Leave” compilation, featuring remixes and reworks from several esteemed names within the darkwave, post-punk and EBM music scenes.

From club bangers like IV Horsemen’s version of “Bitter Smile” and M!R!M’s dreamy lo-fi bedroom synthpop sound on “Into The Night” to Danish deviant pop artist Dune Messiah’s crooner “Loony Voices”. The album also boasts contributions from luminaries like The KVB, The Underground Youth, Blind Delon, Shad Shadows and various Bleib Modern band member side projects.

“2 Afraid 2 Leave” offers listeners a chance to experience Bleib Modern’s music from an altered vantage point, a welcome interlude as the band forges ahead with new creations.

Holiday for Skins Vol. 1” by Art Blakey is a fascinating blend of percussion and jazz. Recorded in 1958, the album brings together talents like Ray Barretto, Sabu Martinez, and the Jazz Messengers. These exotic rhythms explore Afro-Cuban and Brazilian styles, delivering a vibrant musical experience. The versatility of percussion and mastery of jazz make this album a true rhythmic celebration, highlighting Art Blakey’s lasting impact in the world of jazz.

"Holiday For Skins Vol. 1" by Art Blakey includes the following tracks: "Lamento Africano" and more.

"Holiday for Skins Vol. 2" is a percussion-driven jazz album led by Art Blakey, recorded in 1958. Featuring master percussionists like Ray Barretto and Sabu Martinez, the album dives into Afro-Cuban and Brazilian rhythms, interwoven with the Jazz Messengers' expertise. This captivating collection highlights Blakey's innovative exploration of diverse beats, creating a rhythmic feast that showcases his profound influence on the fusion of percussion and jazz.

"Holiday For Skins Vol. 2" by Art Blakey includes the following tracks: "Dinga" and more.

These are gifted soloists and seasoned ensemble players who bring clarity to each arrangement, fire, and dynamism to every solo exchange.”– David R. Adler, JazzTimes. For fans of Art Blakey & The Jazz Messengers, Horace Silver, Miles Davis, George Coleman, Wynton Marsalis

Desert Dictionary navigates sonic territories oscillating between language and landscape, between notation and noise. Voices responding and contributing to a complementary narrative, connecting personal memories, political considerations and psychological effects of a landscape seemingly empty and quiet. Adjacent, beneath and intertwined a modular synthesizer score based on field notes – a synthesized soundscape appearing as imaginary field recordings, at the same time resembling and unalike the place in question.

The twelve contributions presented on the LP were recorded in South Africa over a period of three months in 2020 and 2021. These recordings occurred in various locations in Kimberley, Bloemfontein, Richmond / Northern Cape, Cape Town, Grassy Park, Krugersdorp and Johannesburg.

The Desert Dictionary appears in four iterations – a situation as part of Modern Art Projects South Africa’s collection, a radio play (commissioned by Deutschlandfunk Kultur), a book edition (published by MAPSA), and the present LP.

The LP version is based on the radio play and features the voices of Richard John Forbes, Maja Marx, Phala Ookeditse Phala, Victoria Wigzell, Tubatsi Mpochmoloi, Liza Grobler, Nkosinathi Gumede, Karlien van Rooyen, Mongezi Ncombo, Ivan Messelaar, Gerhard Marx and Lindiwe Matshikiza.

The synthesized field recordings – translations of fieldnotes taken in the desert – were recorded in Johannesburg and Berlin.

Written and produced by Boris Baltschun, 2021-2022. Mastered and cut by Kassian Troyer at D&M, Berlin. Photo & map by Boris Baltschun. Graphic design by Joe Gilmore.

MME Recordings lands on planet earth with their first release from Berlin based Italian producer Cesare Muraca. The spacey four tracker opens with an immediate dancefloor smasher in the form of Space Message. The trippy yet melodic synths balance out the killer drums and addictive bassline to hypnotize dancers in the groove. The rest of the EP comprises of euphoric synth structures and chunky bass, offering a solid allrounder that simultaneously works for any moment in the night.

Unreleased, "lost" 7inch off the Bruton library music album "Deep Funk". Two killer cuts by the Sound Stylistics: The Message is a piece of heavy soul featuring the vocals of late great UK soul singer Noel McKoy, Freedom Sound is a space funk groove with moog synth on top. Officially licenced from BMG Zomba Production Music in 2007, manufactured and forgotten. These 45s have just been unearthed from the pressing plant's storage room after more than 15 years.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.

Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).

"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.

“The Chicago Super Blues Revisited” is Jasmine’s homage to the two superb albums “Super Blues” and “The Super Super Blues Band” which contained these great bluesmen playing together. Here the concept is different as these three giants of Chicago blues are not performing together but what is presented are sides of their 45s released after Jasmine’s respective releases: “Muddy Waters – Natural Born Lover” (JASMCD3017/8); “Howlin’ Wolf – The Wolf is at Your Door” (JASMCD3020/1) and “Little Walter - The Singles As & Bs – 1952-1960” (JASMCD3015/6).
These artists personify Chicago Blues and this collection of marvellous recordings catches them before global fame took them to greater heights.
Features “Messin’ With The Man”, “You Need Love”, “Wang-Dang-Doodle”, “I Ain’t Superstitious” and many superb songs that influenced the UK blues boom.
Fully detailed liner notes.
Limited edition press on 140 gram colour blue/black marbled vinyl.

2024 Repress

The late, great J Dilla is widely regarded as one of the greatest hiphop producers of all time. An innovator who pushed the genre in new sonic directions, the Detroit native born James Yancey crafted timeless soundscapes for the likes of Slum Village, Busta Rhymes, Common, Erykah Badu, A Tribe Called Quest, The Roots, and many more. Since his death in 2006, Dilla’s mother Maureen “Ma Dukes” Yancey has worked tirelessly to further her son’s legacy, and her latest effort is the new posthumous album Motor City. Inspired by Dilla’s beloved hometown, Motor City is a collection of rare and unreleased Jay Dee instrumentals, hand-selected and sequenced by Ma Dukes. Conceived as a “letter” to her son, Motor City is packaged in a limited-edition mailing envelope, complete with a handwritten message from Ma Dukes to J Dilla inside. Both CD and vinyl formats also include access to an exclusive mix of the album by Dilla’s close friend J Rocc, a world-renown DJ and founder of the Beat Junkies.

DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.



The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.



Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

An intimate, vast, and mineral landscape, that's MaMaMa’s first album.

« Hier Sera Meilleur » (« Yesterday Will Be Better ») is the most personal project the musician has ever undertaken. It's an album of confessions and echoes. The echoes of the world within him, those of the past that haunt and drive the present, and also the echoes of the future that are already speaking to us.

Entirely composed, written, arranged, and mixed by Elliot, the tracks that make up this album blend organic recordings with synthetic productions. Euphonium, saxophone, clarinet, or a string quintet recorded in the studio coexist and intersect with various synthesizers and electronic plug-ins.

Ancient textures meet modern sounds. Black and white turns into color.

Everything changes and nothing is ever just what we perceive it to be, MaMaMa seems to tell us, however for the duration of a song, we are there. Yesterday will be better.

Love Is Yes is the first album by Sander van der Toorn and Dax Niesten, an audio-visual duo de force of the same name.

This heady debut is rooted equally in the worlds of fine art and experimental music. Sound and image meld wonderfully across 10 tracks, with shifting movements of music accompanied by a wealth of paintings and animations.

Niesten's work summons the likes of Philip Guston and Maurice Sendak - with its crestfallen, cartoonish voids and cockle-warming grotesquery. Serenely contorted creatures are rendered on large canvases, and brought to fuzzy, maudlin life through a full-length animation that can be viewed alongside the record.

Musically, the pair cite influences ranging from Vashti Bunyan to Morton Feldman. There is an ornate fragility, smeared by zero gravity focus shifts. Some glimpses suggest a corroded grail of Boards of Canada samples; motorik guitar, whispered messages, euphoric vistas and tangled memories all bathing in atomic glow.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

"Something happened on No. The early EPs from Baltimore’s Tomato Flower were pretty, dreamy psychedelia. Warm to the touch, like looking up at the trees on a cloudless day. On No, the four-piece’s debut album, those trees, that cloudless sky, have become haunted, thorny, stormy. It takes Tomato Flower from buttoned-up, almost technically formalist psych pop to something more urgent, raw, emotionally immediate. No is messier, more expansive, and through all of its chaos, the band’s most rigorous artistic statement to date.

No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022.

Lead single “Destroyer,” has Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Murphy and fellow co-lead vocalist and guitarist Austyn Wohlers, which occurred during the composition of the album.

It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. All of it is a brutal delight, a departure from the past, a nod to a startling present."

"All Quiet on the Western Front (Im Westen nichts Neues) is a 2022 German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material's anti-war message. Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war. All Quiet on the Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score. The score of All Quiet on the Western Front is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl. The package includes a 4-page booklet with movie stills."

All Quiet On The Western Front by Volker Bertelmann, released 8 March 2024, includes the following tracks: "Rain & Night ", "Burried & Found", "Ludwig ", "Search Party" and more.

This version of All Quiet On The Western Front comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a flame red disc.

PRESSED ON BLUE SWIRL AND ORANGE SWIRL COLORED VINYL PACKAGED IN A GATEFOLD JACKET WITH PRINTED FOLD OUT LYRICS SHEET

Originally released in the fall of 1993 Return of the Boom Bap is KRS-One's first official solo album. The album is pure 90's Hip-Hop filled with KRS-One's trademark conscious raps and storytelling with boom bap beats from the man himself, DJ Premier, Showbiz, and Kid Capri. The album kicks off with a Preemo trademark intro leading into "Outta Here", a tale about coming up in the 80s with a message to emcees not staying true to their roots. Throughout the album KRS-One tackles corrupt police, fake emcees, religion and provides some comical relief on "I Can't Wake Up" where he dreams about being a blunt passed around by a who's who of 90s emcees and Bill Clinton! The album was selected as one of The Source's 100 Best Rap Albums and received a 4 four mics rating in The Source in 1993. Get On Down is proud to present a limited edition pressing of Return of The Boom Bap to commemorate the 30th Anniversary of the blast master's classic debut solo album. Includes the bonus freestyle track "Hip-Hop vs Rap" that was on the original "Sound of Da Police" 12-inch.

Bacao Rhythm & Steel Band, die mysteriöse Steel Pan Band aus Hamburg, hat sich weltweit einen Kultstatus erspielt. Mit einer Reihe von klassischen 7" Singles und drei hochgelobten Alben haben sie die Messlatte für sich selbst hoch gelegt, die sie mit diesem neuen Werk noch weiter nach oben schieben wollen. Auf ihrem vierten Album BRSB sind Bacao zurück mit mehr vom Gleichen, aber mehr vom Gleichen ist bei ihnen von Natur aus anders. Sie covern Songs aus verschiedenen Genres, von Megahits bis hin zu Underground-Songs, und machen sie sich mit ihrer einzigartigen Herangehensweise an die traditionellen Steel Pans aus Trinidad und Tobago zu eigen. Während ein Teil des Reizes eines neuen Bacao Rhythm & Steel Band-Albums darin besteht, herauszufinden, welche Songs sie covern, ist es ebenso faszinierend zu sehen, welche originellen Melodien sie ausgeheckt haben – denn dieses Album ist ebenso voller herausragender Originale. Der Opener des Albums, "In The Crosshairs", ist ein rauer und harter Midtempo-Kopfnicker, während "Grilled" und "Treasure Quest" das Tempo mit starken afrikanischen Funk-Einflüssen anziehen. Bacao geht mit "Hazy Memories", einem basslastigen Slowburner, der zwischen Hypnose und Hype wandelt, in die Tiefe. Diese Originale sind ein Beweis dafür, dass der Begriff "Coverband" ein Schuh ist, der niemals zu Bacao passen könnte. Und doch gibt es auch dieses Mal in der Tradition der Steel-Pan-Musik eine Reihe Coverversionen. Der große West Coast Hip Hop Einfluss wird offenbar mit Covers von Game & 50 Cent's "How We Do", Dr. Dre & Snoop Dogg's "Nuthin But A G Thang" und Tupac's "Got My Mind Made Up”, die alle eine neue Energie bekommen und sich für die BRSB Stahlbehandlung eignen. Mit ihrem Covern von Claudja Barrys Disco-Klassiker "Love For The Sake Of Love", die sie in eine synchronisierte Version umwandeln und sogar den Titel in "Love For The Sake Of Dub" ändern, fügen Bacao ihrem Lebenslauf einen weiteren zertifizierten Dance-Floor-Filler hinzu. Aus dem Bereich der zeitgenössischen Smash-Hits covern sie Drakes "Hotline Bling" und "Love$ick" von Mura Masa & A$AP Rocky. Dann gehen sie mit dem "Stranger Things Theme" einen sehr unerwarteten Weg, indem sie den Synthie-lastigen Titelsong der Hit-Show nehmen und ihm einen hypnotischeren Ton geben als dem Original. Wenn BRSB fertig ist, hat die Bacao Rhythm & Steel Band den Hörer auf eine Reise mitgenommen, die eine Vielzahl von Energien, Tempi und Stimmungen umfasst, aber alles unter einem Dach hält.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

Dez Dare ventures further into the void than ever before on his 4th album and the 1st to be released via God Unknown Records, ‘A Billion Goats. A Billion Sparks. Fin.’. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; Doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how we interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy Soundgarden + Monster Magnet) and will be producing a deluxe version of the release that will include a 12 page comic illustrated by long time collaborator Mike Keane. Across the drone of noise and washed out guitars of the final track, ‘A Billion Voices Screaming, Hello Void!’, the chant repeats “We all return to where we begun...” which encapsulates the message that Dare delivers. We are all made from the same stardust and we all return to the universe that spat us out, we just need to enjoy the many shards of nonsense on that swift descent into the void...with wizards painted on the side." MAXIMUM ROCKNROLL "Early 90s-inspired take on DEVO punk... high energy sucker punches on your ear." Weirdo Shrine "Sludgey-grungey-fuzzed psychedelic-noiserock... I like the fact that despite all the edgy complexity, catchy songs emerge again and again."

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

We are pleased to introduce our new single coming out on 16th of February featuring ever productive Guiding Star Orchestra eleven-man roots reggae ensemble from Copenhagen, Denmark and young, upcoming, Jamaican roots Artist Azizzi Romeo (son of legendary Max Romeo) on “In Jah Sight” riddim. Coming out on both vinyl and as a high quality digital release.

The song contains conscious lyrics on top of a meditating steppas riddim with beautiful arrangements from GSO horn section and includes an amazing dub version made by the great Roberto Sanchez from A-Lone Ark Music Studio. Two wicked collaborations on both sides of a heavy slab of 7” record!

The song is an uplifting statement about putting trust in your faith. “When thirst cover your mouth, Jah will send the Rain!” A strong message from a young Artist who’s ready to take over the world of conscious roots reggae music. This is the first time Orchestra has done a collaboration with a vocalist and we have many more collaborations planned for the future as well as some brand new solo material coming this year. Stay tuned!

Die Schweiz war schon immer ein fruchtbarer Nährboden für Extreme Metal. Messiah wurden 1984 gegründet und veröffentlichten zwei bahnbrechende Alben auf Chainsaw Murder Records, "Hymn To Abramelin" im Jahr 1986 und "Extreme Cold Weather" ein Jahr später. In den frühen 1990er Jahren unterschrieben Messiah bei Karl Walterbachs Label Noise Records und veröffentlichten drei weitere Alben in voller Länge: "Choir Of Horrors" (1991), "Rotten Perish" (1992) und "Underground" (1994), bevor sie getrennte Wege gingen.

Im Jahr 2018 beschlossen Messiah, sich in der Originalbesetzung ihrer Noise Records-Alben mit Andy Kaina am Gesang, Steve Karrer am Schlagzeug, Patrick Hersche am Bass und Bandgründer R.B. Brögi an der Gitarre zu reformieren. Aufwendige Re-Issues von "Hymn To Abramelin" und "Extreme Cold Weather" erschienen auf High Roller Records, bevor 2020 ein neues Studioalbum mit dem Titel "Fracmont" veröffentlicht wurde. 2024 folgt nun endlich "Christus Hypercubus", das Opus Magnus von Messiah.

Am 4. November 2022 ereilte das Schicksal den ehemaligen Messiah-Sänger Andy Kaina, der im Alter von nur 53 Jahren an einem Herzinfarkt starb. Es war ein großer Schock für alle Beteiligten. Andys letzter Live-Auftritt mit Messiah fand am 20. November 2021 im Alten Capitol in Langenthal, Schweiz, statt. Gegen Ende des Jahres verließ Andy Messiah, weil er nach eigenen Worten "die Motivation verloren hatte, in der Band zu sein und sich auf andere Dinge im Leben konzentrieren wollte". Messiah und Andy Kaina blieben jedoch Freunde.

Messiah hatte sich aber bereits nach Andys Ausstiegsankündigung entschieden, die Band weiterzuführen. Marcus Seebach aus Chur wurde Ende 2021 der neue Messiah-Sänger. Kurze Zeit später begannen die Arbeiten an einem neuen Studioalbum. "V.O. Pulver renommierter Schweizer Plattenproduzent und derzeit auch zweiter Gitarrist bei Messiah und ich haben im Januar 2022 die Grundlagen für neue Songs geschaffen", erklärt Gitarrist und Gründungsmitglied Brögi. "Innerhalb von drei Wochen hatten V.O. und ich das gesamte neue Album geschrieben. Ich habe in dieser Zeit auch das ganze Konzept und die Texte entwickelt (bis auf einen Songtext, der von Marcus Seebach stammt). Es war wirklich eine sehr kreative Zeit."

"Wir haben es so gemacht, wie wir es immer machen", lacht Brögi, "wir haben die Songs für "Christus Hypercubus" einfach geschrieben und aufgenommen, ohne viel darüber nachzudenken, ganz spontan. Die Umstände waren dieses Mal allerdings etwas komplizierter, weil wir nicht alle zusammen im Proberaum waren, um das Material zu arrangieren. Das Schicksal schlug zu, da Steve Karrer aufgrund eines Skiunfalls sechs Monate lang nicht Schlagzeug spielen konnte. Insgesamt ist das neue Material härter und schneller als "Fracmont". Es gibt auch einen neuen Touch, der durch Marcus' Gesang entsteht, denn er ist in der Lage, diese hohen Schreie zu machen. Ich denke "Christus Hypercubus" repräsentiert unsere neue Situation sehr gut - es weht ein neuer Wind, aber wir haben nichts von den bewährten Messiah-Trademarks von früher verloren."

Hier und da tragen Songs wie das langsamere "Speedsucker Romance" oder "Christus Hypercubus" auch "progressive" Züge, was das Album interessant und frisch klingen lässt. "Das liegt wahrscheinlich daran, dass wir alle Regeln für das Arrangieren von Beats ignorieren", schmunzelt Brögi. "Wir fügen einfach verschiedene Ideen zueinander, meist angeführt von den Gitarren. Deshalb werden wir wohl auch nie einen Rockhit schreiben. Früher war es reines Chaos, heute ist es strukturierter und professioneller."

Die Schweiz war schon immer ein fruchtbarer Nährboden für Extreme Metal. Messiah wurden 1984 gegründet und veröffentlichten zwei bahnbrechende Alben auf Chainsaw Murder Records, "Hymn To Abramelin" im Jahr 1986 und "Extreme Cold Weather" ein Jahr später. In den frühen 1990er Jahren unterschrieben Messiah bei Karl Walterbachs Label Noise Records und veröffentlichten drei weitere Alben in voller Länge: "Choir Of Horrors" (1991), "Rotten Perish" (1992) und "Underground" (1994), bevor sie getrennte Wege gingen.

Im Jahr 2018 beschlossen Messiah, sich in der Originalbesetzung ihrer Noise Records-Alben mit Andy Kaina am Gesang, Steve Karrer am Schlagzeug, Patrick Hersche am Bass und Bandgründer R.B. Brögi an der Gitarre zu reformieren. Aufwendige Re-Issues von "Hymn To Abramelin" und "Extreme Cold Weather" erschienen auf High Roller Records, bevor 2020 ein neues Studioalbum mit dem Titel "Fracmont" veröffentlicht wurde. 2024 folgt nun endlich "Christus Hypercubus", das Opus Magnus von Messiah.

Am 4. November 2022 ereilte das Schicksal den ehemaligen Messiah-Sänger Andy Kaina, der im Alter von nur 53 Jahren an einem Herzinfarkt starb. Es war ein großer Schock für alle Beteiligten. Andys letzter Live-Auftritt mit Messiah fand am 20. November 2021 im Alten Capitol in Langenthal, Schweiz, statt. Gegen Ende des Jahres verließ Andy Messiah, weil er nach eigenen Worten "die Motivation verloren hatte, in der Band zu sein und sich auf andere Dinge im Leben konzentrieren wollte". Messiah und Andy Kaina blieben jedoch Freunde.

Messiah hatte sich aber bereits nach Andys Ausstiegsankündigung entschieden, die Band weiterzuführen. Marcus Seebach aus Chur wurde Ende 2021 der neue Messiah-Sänger. Kurze Zeit später begannen die Arbeiten an einem neuen Studioalbum. "V.O. Pulver renommierter Schweizer Plattenproduzent und derzeit auch zweiter Gitarrist bei Messiah und ich haben im Januar 2022 die Grundlagen für neue Songs geschaffen", erklärt Gitarrist und Gründungsmitglied Brögi. "Innerhalb von drei Wochen hatten V.O. und ich das gesamte neue Album geschrieben. Ich habe in dieser Zeit auch das ganze Konzept und die Texte entwickelt (bis auf einen Songtext, der von Marcus Seebach stammt). Es war wirklich eine sehr kreative Zeit."

"Wir haben es so gemacht, wie wir es immer machen", lacht Brögi, "wir haben die Songs für "Christus Hypercubus" einfach geschrieben und aufgenommen, ohne viel darüber nachzudenken, ganz spontan. Die Umstände waren dieses Mal allerdings etwas komplizierter, weil wir nicht alle zusammen im Proberaum waren, um das Material zu arrangieren. Das Schicksal schlug zu, da Steve Karrer aufgrund eines Skiunfalls sechs Monate lang nicht Schlagzeug spielen konnte. Insgesamt ist das neue Material härter und schneller als "Fracmont". Es gibt auch einen neuen Touch, der durch Marcus' Gesang entsteht, denn er ist in der Lage, diese hohen Schreie zu machen. Ich denke "Christus Hypercubus" repräsentiert unsere neue Situation sehr gut - es weht ein neuer Wind, aber wir haben nichts von den bewährten Messiah-Trademarks von früher verloren."

Hier und da tragen Songs wie das langsamere "Speedsucker Romance" oder "Christus Hypercubus" auch "progressive" Züge, was das Album interessant und frisch klingen lässt. "Das liegt wahrscheinlich daran, dass wir alle Regeln für das Arrangieren von Beats ignorieren", schmunzelt Brögi. "Wir fügen einfach verschiedene Ideen zueinander, meist angeführt von den Gitarren. Deshalb werden wir wohl auch nie einen Rockhit schreiben. Früher war es reines Chaos, heute ist es strukturierter und professioneller."

Wo ein Krater liegt, muss es einen Vorfall gegeben haben. Etwas ist eingeschlagen oder ausgebrochen, wo jetzt Ruhe ist. 2012 spien Messer das fiebrige Debüt "Im Schwindel" in die brodelnde Begeisterung für Punk aus Deutschland und wuchsen zu einer prägenden Stimme im Post-Punk-Revival der Zehnerjahre. Was auf den letzten beiden Platten "Jalousie" (2016) und "No Future Days" (2020) noch wild wucherte, ist nun auf "Kratermusik" stärker begriffen und gibt zugleich Sicherheit für weiterführende Expeditionen. Die einzelne Idee ist jetzt schärfer konturiert als zuletzt, Kratermusik ein Album im Wortsinn: Jede Seite ein anderes Bild, eine andere Szene mit anderen Figuren, zusammengehalten von einem Einband, einer Motivwelt, einem Sound, der dieses Mal dicht, aber umso detaillierter ausfällt. An anderer Stelle lösen sich Stimmen auf: Pola Lia Levy, die lange schon eng mit der Band befreundet ist und gerade mit ihrer neuen Band Dews in den Startlöchern steht, spendet Harmonien, die im erst sachten, dann zunehmend mitreißenden "Im falschen Traum" mit dem Rest der Band verschwimmen. Im Space-Dub-Finale "Am Ende einer groszen Verwirrung" stimmt sie mit Joachim Franz Büchner in einen beherzten Singsang ein. Was hier tröstlich klingt, wirkt im vielstimmigen Spiegel zerrissen, wenn auch nicht zwingend unheimlich - sondern ähnlich faszinierend-ambivalent wie Mille Petrozza von der legendären Thrash Metal-Band Kreator, der mit einigen englischsprachigen Zeilen durch den wispernden Refrain am Ende des Wave-Epitaphs Grabeland schneiden darf. Messer bleiben also ambivalent, fragend und suchend, gerade wenn es um Krieg und Frieden oder die Zukunft des Planeten geht. Die Bewegung steckt schon im Titel: Das "Messer verwandte Wort" Krater, so Otremba, "ist vieldeutig, ein Wort, bei dem klar ist: Zu dem muss man sich verhalten. Das ist ein scharfkantiges, schroffes Wort." Im Krater steckt immer auch das Potenzial zur Explosion, im Frieden lauert der nächste Krieg. Im Vorrang des Ästhetischen ist die neue Platte aber ein typisches Messer-Album, auch in seiner gewohnten Überschreitung dessen, was Post-Punk sein kann. Vielfältiger klang diese Band nie, ihr Referenzsystem bleibt undurchschaubar. Parallel spülen die Pop-Gezeiten wieder eine (Neue) Neue Deutsche Welle an, doch Messer bleiben ihren eigenen Zyklen verpflichtet, befinden sich in ständigem Übergang: Metaphern nie ganz auflösen, Motive immer neu ausleuchten, Sounds nochmal anders aufeinander beziehen.

"Originally released in 1963, “Caravan” was Art Blakey and the Jazz Messengers' first album for Riverside Records. Featured in addition to Blakey are Freddie Hubbard (trumpet), Curtis Fuller (trombone), Wayne Shorter (sax), Cedar Walton (piano) and Reggie Workman (bass). This new edition is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket. "