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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.

DUBFIRE INVITES CHRIS LIEBING, TRUNCATE, CARL CRAIG, DRUMCELL, NADIA STRUIWIGH & MORE TO HIS REMIX ALBUM
EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.
The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, DEAS, Carl Craig, Truncate, Drumcell, Chris Liebing, and Luke Slater as L.B. Dub Corp who have all given the original music in their own unique style.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

This wonderful collection of mostly overlooked gems has been remixed and remastered from the original master tapes. Finally available again after 20+ years of unavailability. The Freddie Mercury produced title-track features the iconic Queen frontman on piano and vocals and Brian May on guitar. The further Eddie Howell tracks on the album are from around the same period and feature cameo appearances from Phil Collins, Gary Moore, Ray Cooper and many others. Pressed on 180gram audiophile quality white vinyl, presented in an exclusive boxset including photos, poster, plectrum, QR code (for the Dolby Atmos version of the album) and the story behind the project.

Man From Manhattan by Eddie Howell & Freddie Mercury, released 12 April 2024, includes the following tracks: "Jezebel ", "A Long Story ", "Parachute ", "Chicago Kid " and more.

This version of Man From Manhattan comes as a 1xLP in a(n) Printed Inner Sleeve(s) packaging. This release comes with (a) Photo(s) & Poster.

The vinyl is pressed as a white disc.

Available again on vinyl, this quintessential collector’s edition includes Sam Cooke’s sensational album, Twistin’ the Night Away, originally issued by the RCA Victor label in 1962. It was Cooke’s second effort following his 1957 debut LP, and remains one of the singer’s most accessible records despite the fact that the material consists primarily of “Twist” numbers chosen by the producers to cash in on that craze. Cooke was shoehorned into doing numbers like “Camptown Twist”, “Twistin’ in the Kitchen With Dinah”, and “Twistin’ in the Old Town”, as well as his version of Hank Ballard's “The Twist”.

He is at his most soulful, exciting, and passionate, on the popular title track “Twistin’ the Night Away”; the bluesy “Somebody Have Mercy”; the romantic lament “Somebody’s Gonna Miss Me”; the ebullient “Sugar Dumpling”; the achingly beautiful “A Whole Lot of Woman”; the soaring “Soothe Me” (with Lou Rawls); and the slow dance number “Movin’ and Groovin’”. In 2001, music critic Bruce Eder declared, “Twisting the Night Away is not only one of the great dance albums of its period, but a brilliant soul album as well, which is why it holds up 40 years later.”

The ashtrays in the music cellar are getting cold. Nobody coughs, that Beer tastes stale, and the disco ball spins in slow motion the sequins are missing. Only a small illuminated sign shines on the counter. Tonight: LO FAT ORCHESTRA – New Wave HIT-MACHINE from Schaffhausen, Switzerland. The band – three men with a sense of well-being Melodies – sets off on a ghost ride. “I’m not your dancer,” sings Chrisi Schmid, the singer behind it powerful synthesizer that writes the lyrics without them to write down. "I'm not your fucker." I'm not your puppet, you clown. This is the essence of the new Lo-Fat album “LFO_09”, which contains eight songs. That the name of the album just as well could come from a UFO is consistent. You don't have to Wanting to fit in or be cool for the sake of being cool. If in doubt, for the doubt. “I was afraid to talk to you,” sings Chrisi in the song “Sound,” and his Synth hops a wild dance. “I was afraid I wouldn’t like you. And I didn’t want to be like you.” The band still doesn't need a guitar. The bass works for two (the new bassist is Dominic Rubli). Drummer Daniel Zimmermann switches seemingly effortlessly between high-speed, Ballade scene and assembly line. “Love is for free,” sings Chrisi in the wonderful ballad “Good Times”. “This place is killing me.”

Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for. The debut album Hollywood Smile will be released on April 5th, 2024 by Hamburg’s Sounds Of Subterrania.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

London-born-and-raised DJ and producer Parris has announced his new EP Passionfruit, which is to be released on 22nd March 2024 via his own co-founded label can you feel the sun. Following his stand-out 2021 album Soaked In Indigo Moonlight, described as a “masterful” take on the pop genre (Crack Magazine), Passionfruit continues Parris’ affinity for polyrhythms and bouncing synths, but diving deeper into his love for clubbing and UK soundsystems, the result is a heady house compilation.

Each track on the EP is in contention with the one before it, a counterpoint to a sonic argument; melodic bubbly pop against heavy drum and bass, morning rays of sunlight against dark and swampy rhythms. Where the title track “Passionfruit” was described by Parris as imagining the “early morning of a set with the sunrise coming through the shutters”, the very next track “Slipping, Falling, Crawling” is much like the title suggests: a sludgy, percussion-heavy track which has fun with creating melody from the beat itself, stripped back and raw intent.

“Why Can’t Rabbits Wear Cowboy Boots” and “Underwater Fantasy” are almost alternate universe club classics. “WCRWCB” takes a club-formed structure, and uses it to explore the limits polyrhythms, layering chaotically over eachother, and building through the first half of the track, until it peaks with the introduction of an explosive bassline. “Underwater Fantasy” on the surface is the straightest-sounding track to come from Parris, but the disco-style vocals fight with the beat, pushing and pulling at eachother.

Parris (aka Dwayne Parris-Robinson) has dedicated himself to club culture from an early age, never missing a week at FWD>> (the club night where a generation of bass and techno DJs made their names), and was constantly tuning into Rinse FM. Immersing himself into the distinct sound of London built the foundations of the productions we hear today, with grime and drum & bass bubbling alongside slick pop references.

The latest album from Australian singer / songwriter Grace Cummings, ‘Ramona’ is a work of raw truth rendered in its most beautiful form. In a departure from the self-produced approach of her 2019 debut, ‘Refuge Cove’, and its 2022 follow-up ‘Storm Queen’ - the Melbourne-based artist worked with producer Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price) and dreamed up a lavishly orchestrated sound that fully accommodates the depth and scope of her vocal prowess

Released in 2012, debuting at Number 8 on the Billboard 200, Number 21 on the Canadian Albums Chart, Number 65 in the UK Albums Chart and Number 18 on the Australia Album Chart, ‘Vulnerable’ was the fifth studio album by The Used. Production and mixing was handled by John Feldman. ‘Vulnerable’ is now available on silver vinyl. “There are so many kids out there who are special in their own way, and I want people to understand that this record is for the misfits and for the outcasts and for anyone who’s never really fit in. There’s a place for all of us in this world. We can all find it if we just keep looking,” said frontman Bert McCracken to Alt Press.

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

"A Vision of Misery is the third full-length album by Californian metal band Sadus and was originally released in 1992. Originally a quartet, the band's sound fuses thrash metal with death metal, featuring highly technical musicianship. They are known for the unique death growl of vocalist Darren Travis, and bassist Steve Di Giorgio mind-boggling bass licks and impossible tricks. After two albums straddling the stylistic transition between thrash and death metal, Sadus pretty much committed to the latter with this record. A Vision of Misery with compositions such as ""Through the Eyes of Greed,"" ""Machines,"" and ""Echoes of Forever"" epitomizing technical death metal. For fans of Sadus' habitually inventive arrangements and sharp dynamic shifts, there's plenty on offer here. A Vision of Misery is available as a limited edition of 750 individually numbered copies on gold coloured vinyl and includes an insert. "

A Vision Of Misery by Sadus, released 4 April 2024, includes the following tracks: "Machines ", "Throwing Away the Day ", "Deceptive Perceptions ", "Echoes of Forever " and more.

This version of A Vision Of Misery comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

Since their debut album in 2005, Finnish post-rock cinematic epics, Oddarrang, have been captivating audiences with their unique blend of atmospheric, melodically infused, and harmonically rich music, woven around an uncommon combination of guitars, cello, and trombone. The term "odd arrangement," from which Oddarrang takes its name, perfectly describes their effortless merging of atmospheric charm with post-rock influences, tasteful synth production, and resonant brass. In 2024, Oddarrang is set to release their fifth and self-confessed final album, an album that many consider their magnum opus.

This highly anticipated release blends all the elements from their previous works, resulting in a highly compelling musical masterpiece. The anticipation for this album is at its peak, representing the culmination of their artistic growth over the years. As a collective group, Oddarrang is a melting pot of diverse musicians, each contributing their distinct style to the musical canvas. Their evocative compositions possess a cinematic quality, conjuring a plethora of emotions and vivid imagery in the minds of their listeners. This forthcoming album stands as a true testament to Oddarrang's unwavering dedication and artistic evolution. It is a reflection of their authentic connection to the music they create, inviting audiences to embark on a transformative and emotionally charged musical journey.

"Oddarrang" includes the following tracks: "Lull", "Mishkan", "White Wall pt. 2" and more and comes on orange vinyl.

Das 1997 mit der Veröffentlichung von "Solid" eingeleitete neue Kapitel in der Geschichte von U.D.O. setzte sich 2004 mit den ersten Veröffentlichungen unter dem Dach von AFM-Records fort. In dieser Ära veröffentlichte U.D.O. viele seiner Heavy Metal-Meilensteine und All-Time-Fan-Favoriten. Jetzt, 20 Jahre später, werden diese Klassiker endlich wiederveröffentlicht. Am 5. April werden vier weitere Alben dieser Serie - teilweise zum ersten Mal - auf Vinyl veröffentlicht. Eile ist geboten, um diese Eckpfeiler des Heavy Metal nicht zu verpassen!

repressed !

Kloke joins the Run it Red label for a stunning 4 track jungle ep. Fresh from dropping several excellent releases on Future Retro, !K7 and several other labels as well as collaborations with Tim Reaper, Kloke brings the 93 darkside style into the year 2023 for Echo Chamber Sound's sub label.

These tracks have the perfect balance of rawness and intricacy that Kloke is known for and could be mistaken for lost dubs played at Rage or the Bluenote sessions with only a cassette recording to tell the tale. Luckily they are brand new tunes, crisply mastered at The Exchange and pressed on a 4 track 12inch. Label owner LQ reworks the title tune Dark Knight with signature low end power and dubwise sonic manipulation.

Limited reissue of the classic Exaltics 2011 release on Creme Eclipse aka The Living Planet. Housed in a full sleeve with fantastic previously unreleased artwork by Godspill. Dont miss this masterclass in brooding and dark electronix tech-fi. It may sound scary at first but lucky for you it all ends in a crop circle rave!

On the fourth remastered NETWORK 23 records re-release we have an original track by Crystal Distortion followed by a totally mental track by R-ZAC and a special version of 'Drivin' by 69db and Meltdown Mickey. Dont miss out on this one!

Anders als bei ihrem selbstproduzierten Debüt 'Refuge Cove' und dem Nachfolger 'Storm Queen' arbeitete Grace Cummings für ihr neues Album 'Ramona' mit Produzent Jonathan Wilson (Angel Olsen, Father John Misty) zusammen und schuf einen aufwändig orchestrierten Sound, der die Tiefe und den Umfang ihres stimmlichen Könnens voll zur Geltung bringt.

'Ramona', das am 5. April über ATO Records erscheinen wird, behandelt Trauer, Selbstzerstörung und emotionale Gewalt und verleiht Cummings Musik dabei eine neue Größe. “In the past I’ve been caught up in worrying about whether I’m being too emotional or over-the-top, but this time around I decided not to filter any of that out”, so Cummings. “My only intention was to be myself, which meant being extremely vulnerable in my writing and my vocal performance, without going back and editing myself later on.”

Das Album entstand in Zusammenarbeit mit einer Reihe von Gästen, darunter die Harfenistin Mary Lattimore und der Streicherarrangeur und Multiinstrumentalist Drew Erickson (Weyes Blood, Mitski, Lana Del Rey), mit Cummings an der Gitarre und am Klavier und Wilson an der Gitarre, dem Schlagzeug, dem Banjo und der Orgel. “I wanted everything and the kitchen sink on this record, to make it as big and dramatic as possible and show a whole range of colors.”

Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”.

“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.




d Arrangements, as in Making Them [VIDEO]

Karamel-farbiges Vinyl. Die Consolidated Productions von Mel Alexander, die von 1961 bis 1991 am äußersten Rand des hart umkämpften Musikgeschäfts von L.A. tätig war, gehörte zu den am längsten bestehenden unabhängigen Plattenfirmen in schwarzem Besitz im 20.Jahrhundert. Verstrickt in ein verwirrendes Netz von Labels - darunter Ajax, Angel Town, Car-AMel, Emanuel und Kris - versammelt diese erste Ausgabe 28 schwelende R&B-Songs von Lee Harvey, B.B. Carter, Marilyn Calloway, Del Reys, Deb Tones, De Velles, Gene Russell's Trio, Jimmy "Preacher" Ellis und Ty Karim. Consolidated Productions Vol. I wurde von den originalen 1/4-Zoll-Bändern neu gemastert und enthält sorgfältig recherchierte Anmerkungen, eine Diskografie und Fotos von einem wichtigen Produzenten.

Wewantsounds is delighted to announce the reissue of Fumio Itabashi's highly sought-after album "Watarase" hailed as one of the great Japanese jazz albums and featuring Itabashi on solo piano playing an inspired mix of standards and originals. Recorded in 1981 for Denon and released in Japan the following year, the album has since reached cult status among international jazz connoisseurs, thanks to Itabashi's inventive piano playing and to its cult title track, a superb lyrical spiritual composition. Newly remastered by Nippon Columbia using their ORT mastering technology, the album reissue features original artwork including a 2 page insert with a new introduction by Paul bowler.

One of the greatest, heaviest, and most sought-after guitar records from 1970s West Africa, available on vinyl for the first time in over a decade!!!

Bamako, Mali, 1973: Rail Band, the official orchestra of the Malian state railway, drops their self-titled LP. It’s a relentlessly soulful and hypnotic blend of American funk, jazz horns, and Afro-Cuban music, reflected through centuries-old Mandé tradition and blasted at top volume by some of the continent’s greatest artists.

Led by legendary trumpet and saxman Tidiani Koné and held aloft by the intricate web of Djelimady Tounkara’s rumbling, reverb-soaked guitar, Rail Band’s sprawling compositions embody West African storytelling traditions while exulting in the technology and modernity of a newly independent Mali. Vocalists Salif Keita and Mory Kanté, two heroes of African music who would achieve global fame as soloists, are endlessly emotive, oscillating between silky ballads and funk screams. The band’s sound is filled out by layers of percussion, rolling guitars, and melodic horns filtered through the Caribbean.

Starting in 1970, Rail Band played five nights a week, from 2 pm til the early hours, at the Buffet Hotel de la Gare. Their audience was an international array of businessmen, young partiers, and people of the Bamako night. The band was incredibly versatile, switching genres, rhythms, and styles to meet their crowd. It was a volatile mix, one that would fall apart soon after these recordings were made, with Salif Keita’s departure to start the rival Les Ambassadeurs. Though Rail Band continued in many distinguished forms, the eight songs on this album reveal one of the greatest bands to ever exist, at the height of their creative powers.

On “Duga”, a composition dating back to the 13th century and passed on through oral tradition by the jelis (griots), the Rail Band replace balafon with the interplay of Cheick Tidiane’s speaker-rattling bass and Alfred Coulibaly’s tasteful organ. “Marabayasa,” with its iconic sax intro and Mory Kanté channeling James Brown, is a deep-cut favorite of DJs around the world. Part of a long and regal lineage of Malian guitar orchestras initially tasked with translating the region’s traditional music to modern instrumentation, Rail Band morphed and reenvisioned those traditions with a style and energy that has never been matched.

Als Tamás Kátai und sein ungarischer Kollege János Juhász sich 1998 zusammentaten, sahen sie Thy Catafalque als eine innovative Black-Metal-Band. Doch mit ihrem zweiten Album hatte sich die Band bereits in andere Stile entwickelt. Während die Gitarren genauso brutal sind, entwickelt sich Tuno ido tárlat (übersetzt: "Eine Ausstellung der verschwindenden Zeit") in alle Richtungen, von neoklassischem Folk bis zu industrialisierter Elektronik.

Caleb Landry Jones ist vielleicht am besten bekannt für seine prominenten Rollen in gefeierten Fernsehserien und Filmen wie „Get Out“, „Twin Peaks: The Return“ und „X-Men: First Class“. Aber seine Talente als Musiker blühen auch abseits der Leinwand. Heute kündigt Jones sein viertes Album "Hey Gary, Hey Dawn" an, das am 5. April 2024 bei seinem langjährigen Label Sacred Bones erscheint. Mit einer Mischung aus Intensität, Verletzlichkeit und musikalischer Virtuosität lädt Jones den Hörer ein, sich auf eine Reise zu begeben, die ein eindringliches Erlebnis verspricht, das noch lange nach der letzten Note nachhallt. Die Musik ist Jones' bisher stärkste, und obwohl er sich oft mit direkten Einflüssen zurückhält und sich gegen Kategorisierungen sträubt, webt er einen Klangteppich, der innerhalb seiner charakteristischen kaleidoskopischen Symphonien auf Punk- und Grunge-Elemente anspielt, dabei aber eine unverwechselbare und unbeschreibliche Qualität bewahrt Mehr als 20 talentierte Musiker, darunter ein Streicher-Quartett, haben zu diesem Album beigetragen und dieser dynamischen Sammlung von Songs, die nahtlos eine Vielzahl von Genres durchqueren, mehr Tiefe und Komplexität verliehen. „Hey Gary, Hey Dawn“ ist ein Beweis für die atemberaubende künstlerische Entwicklung von Caleb Landry Jones. Auf der ersten Single "Corn Mine" erkundet er die theatralische, bedrohliche Seite seines Sounds. Vier Minuten lang singt Jones mit beschwingter Stimme auf einen psychedelischen Garagenrock-Walzer. Der Song wird natürlich von einem gespenstischen Video begleitet…

Midwestless is the fifth and newest album from St. Louis, Missouri rock failures The Conformists. Once again recorded with Steve Albini at the majestic Electrical Audio, this album marks their first recorded output as a trio. Formed in November of 1996 deep within a basement bedroom somewhere between the corn fields and strip malls of Southern Illinois, The Conformists began as four teenagers with a desire to create Ugly Rock Music. Eventually, they grew up and now dabble in moments which could even be described as quite beautiful and melodic. Elsewhere, elements of insistent repetition with an initial appearance of stasis reveal — with multiple listens — intricate details under the surface.

From the propulsive immediacy of the bass and drums’ taut groove, it’s clear something has changed in Broken Chanter's world. Thudding, powerful odes to the strength of collectivity and togetherness, David MacGregor’s Broken Chanter bristle with energy and empathy on their incendiary third album Chorus Of Doubt. Recorded (and produced) by Paul Savage over 2023’s spring and summer months in Chemikal Underground’s in-house studio Chem 19, Chorus Of Doubt is fuelled by a burning desire to resist an encroaching, global tide of misery, informed by a wide-eyed sense of solidarity and the searing truth that a universal humanity is the only path out of darkness.

Featuring frequent collaborators Charlotte Printer, Bart Owl and Martin Johnston, Broken Chanter’s world is populated by hope and vitriol rendered in ecstatic rock music, terse agit-Funk and soaring choruses.

The most immediate Broken Chanter record to date, Chorus Of Doubt is David MacGregor’s open love letter to never giving up, a personal road map out of collective lethargy.

Für das fünfte Album der Band haben sich KMPFSPRT zum zweiten Mal mit dem Produzenten-Duo Kurt Ebelhäuser und Michel Wern (u.a. Pascow, Donots) zusammengetan. Die Songs sind kürzer, kommen schneller zum Punkt und werfen jeglichen Ballast aus alten Tagen über Bord. Trotzdem - oder gerade deshalb - klingen die Songs zu 100% nach KMPFSPRT. Punk? Pop? Indie? Post-Hardcore? Einfach einmal alles, bitte. Mission accomplished. "Aus gegebenem Anlass" ist das erste Album der Band auf dem Hamburger Label Rookie. Denn auch wenn die Welt vor die Hunde geht - auf eins kann man sich verlassen: KMPFSPRT liefern den Soundtrack dazu. Hittig, listig, bissig. Und dann das Ganze auf Repeat.

Die britischen IRON MONKEY melden sich mit ihrem mit Spannung erwarteten neuen Album "Spleen and Goad" zurück!

Auf dem neuen Album ist die legendäre Band so kompromisslos wie eh und je und liefert den düstersten Sludge-Doom ihrer über 25-jährigen Geschichte ab. IRON MONKEY, die von The Sludgelord als "Doom-Sludge-Vorreiter" bezeichnet wurden, werden ihrem Erbe gerecht und prügeln sich durch jeden der 9 Tracks auf ihrem neuen Album.

Von dem zwei Tonnen schweren Riff, mit dem "Concrete Shock" eröffnet wird, zeigen IRON MONKEY keine Anzeichen von Nachlassen; verwaschene Gitarren krachen gegen pulsierende Drums, unterlegt mit bösartigem, misanthropischem Gebrüll und Gebell. In anderen Stücken wie dem treffend betitelten "Rat Flag" gibt die Band mit spürbarer Wut und Unbehagen Vollgas. Aufgenommen in ihrer Heimatstadt Nottingham, wurde Spleen and Goad in den USA von Brad Boatright bei Audiosiege gemastert.

Neither Timothy J. Fairplay, nor Norwell are strangers to the Dalmata Daniel family: both of them are trustworthy contributors to DD compilation albums of earlier years, plus Norwell has released his 'ODD' EP and 'Joint Spaceflights' EP back in 2017 and 2019 on the label. So this time, it's a return for Norwell, and a debut for Mr. Fairplay: their DDS09 split EP is here to present 4 tracks full of outer space lights, eerie vibes, mesmerizing beats and cosmic energies.

Timothy J. Fairplay's side A starts with the explicit kicks and ominous basslines of 'Caliber 9'. Slowly and steadily, the laser blasts and relentless drums all add up to define a world of space cadets on the run, where any odd-looking figure can turn out to be a malignant, speedy alien. 'TV Tower' takes us to another planet with an even higher rotation velocity. Fast percussion elements and squished lower frequencies take center stage in this intergalactic episode, but the whistle-like melodies and descending, bubbling robot signals make the journey complete.

Flip to side B, and enter the contemplating, otherworldly atmospheres of Norwell. 'Midnight Rituals' gives you the chills with its breath-like swooshes, grievous sirens and deadly asteroid belts. Yet, there is no need to worry: after an intense ride with your spaceship, eventually you end up in the same spot, where you started: in the stable and steady mid-tempo beats of an expertly-programmed drummachine. The orbital mission comes to an end with 'Natives', a dense and heroic hymn with emotive structures and well-crafted harmonics. The track starts with the bittersweet, lamenting synths of a solo voice, pouring their heart out in the spotlight, all alone on the stage. All of a sudden, a hard-hitting, rhythmic groove commences its last rush of dedicated cadences. It is full of breaks, it is full of 303s, completed with airy echoes and dreamy, light gestures. 'Natives' keeps on building its structure with elegant paces, providing a massive, yet delicate experience of Norwell's defined aesthetics. The track lets the last strokes of its gloomy synths roll out, along with the final round of looping drums, thus putting an end to DDS09.

The fourth leg on the early emo table of Rites of Spring, Moss Icon, and Cap'n Jazz, Indian Summer's Giving Birth To Thunder compiles their complete discography. Emo's second wave crashed into the Bay Area in the summer of 1994 in a rage-filled capsule of quiet and loud, octave chords, angry sons, Spock haircuts, and screaming. At the eye of this pissed-for-the-hell-of-it storm were Indian Summer. In the quartet's 12-month existence they wrote ten songs, appeared on a dozen singles and comps, and played over 100 gigs across the U.S. and Canada before burning out, passing out, and moving out of their Blue House in Oakland. Their hand-screened aesthetic is replicated in alarming detail in the accompanying by 24- page book with detailed liner notes, flyers, and miscellaneous propaganda.

New Masada Quartet is one of the best groups Zorn has ever had. Bristling hot guitar master Julian Lage, bass wizard Jorge Roeder and 30- year Zorn veteran Kenny Wollesen perform with a crackling live energy that brings the Masada music to life like never before!

Led by Zorn's versatile sax and stop- and- start conducting, the music is filled with burning solos, telepathic group interaction, heartfelt lyricism and hypnotic grooves. Please purchase this limited edition LP and help Tzadik continue its mission to support and document new music in the 21st century.

Rethink human's dominion in "The Invincible": a story-driven adventure set in a hard sci-fi world by Stanis?aw Lem. Discover planet Regis III as scientist Yasna, use atompunk tools looking for a missing crew and face unforeseen threats. Make choices in a philosophical story that's driven by science. A major part of the brand-new video game hit "The Invincible" is the unique atmosphere. Apart from the outstanding visual effort, created by Starward Industries, there's also the capturing soundtrack by Brunon Lubas that draws the player into the game. Lubas describes his contribution to this journey into space the following: "Inspired equally by the early pioneers of electronic music, minimalism, lo-fi and modern experimental music, the soundtrack for 'The Invincible' consists of 13 diverse tracks. Digging deep into the emotional part of the game's narrative, it accommodates the feelings of melancholy, mystery, loss and hope all glued together with a distinct and consistent take on aural aesthetic and harmony."

-Entire album produced by HAVOC of Mobb Deep.

-Having a West Coast lyrical perspective by Ras Kass on this production is like having Kendrick Lamar on a QTip track.

-Features from Method Man, Twista, Philly Freeway, Fame (MOP) Kurupt (Dogg Pound) Raekwon the Chef, and more.

-Appearances by Sway, DJ Kid Capri, KD Aubert, Kxng Crooked, and other celebrity personalities.

GUTTR is not only a collective of respected legendary Hip Hop emcees and up and up-and-coming artists, but also a mindset. GUTTR is a collective, and in a sense, Rap’s first unionization. The entire project was produced by HAVOC from Mobb Deep and spearheaded by Executive Producer, Storm. This debut project is front-manned by West Coast renowned lyricist Ras Kass and Philly's newest buzz, R.J. Payne. The two share sharp bars along with a star studded list of stellar guest features. With HAVOC supplying the entire album's soundscape, the music is respectfully reminiscent of the classic Mobb Deep albums we all know and love. Having a West Coast lyrical perspective by Ras Kass on this production is like having Kendrick Lamar on a QTip track. This combination creates a sound that is different, unique, and magical.

To quote Ras Kass, "We all miss P(rodigy) and that classic Mobb Deep Energy, there is no replacing that or him, period! I did want to pay homage to them and channel that vibe. Havoc being on board to set the musical canvas on an entire album for brothers to paint these bars has been the opportunity of a lifetime."

Coming in hot with 11 tracks of straight up BARS, this album marks a once-in-a-lifetime collab that has been years in the works.

“..we are witnessing, first-hand, the evolution of a phenomenal new pop star…” – Ones To Watch Der US-Singer-Songwriter Conan Gray veröffentlicht am 05. April sein mit Spannung erwartetes, drittes Album „FOUND HEAVEN“. In nur wenigen Jahren hat der Texaner mit irisch-japanischen Wurzeln es geschafft, sich zu einem der aufregendsten neuen Stimmen der Popwelt zu entwickeln. Sein Hit „Maniac“ wurde vom Billboard und Forbes Magazin zu den „50 Best Songs Of 2020 (So Far)“ ernannt, das Debütalbum „Kid Krow“ als eines der „Best Albums Of 2020 (So Far)“. „Kid Krow“ erreichte Platz 5 der US Billboard-Charts, das zweite Album „Superache“ erreichte die Top 10 der Albumcharts in u.a. USA, UK und Niederlande. Sein neues Album „FOUND HEAVEN” beinhaltet die Singles „Never Ending Song“, „Winner“, „Killing Me“ und „Lonely Dancfers“.

Outsider rock is no longer an invite-only endeavor with DIY touring art pop band Summer Like The Season. Their sophomore record “Aggregator" is a DM to come hang out on discord servers and twitch streams. Opening with the track “Meet Me On The Internet” this anthem is a welcoming call to summon a court of weirdos and misfits. Genre bending across the spectrum of indie rock to hyper pop, the musical musings of Summer Krinsky are an exploration of this cyborg era. As a LGBTQIA female producer, percussionist and singer, Summer fronts the band from a unique perspective in more ways than just physically behind the drum kit. Summer is an audio engineer and co-owns Atonuv, a recording studio in Detroit with bandmate Scott Murphy. She composes all of the music, playing piano, bass, guitar, drums, erhu, synths, found sounds, singing bowl, banjo, auxiliary percussion, melodica, kazoo and more on this album. Locking themselves in the studio for many months in a marathon of micro-details, Summer and Scott mixed the record to their exacting standards. The presentation of the band’s first album “Hum” was a polished product from out of thin air, finding fans in person as they toured from town to town. For this new record Summer’s goal was to allow audiences to witness, engage, and participate in a far more intimate manner. Summer live-streamed slices of the composition process, refining tracks such as “Android Hymn” and “Crosstalk” realtime on twitch. “Aggregator” is an album about nowness, living in the time of technological revolution, at the intersection of optimism and anxiety. These songs are a balance, a flip of a coin, the outcome of which is yet to be determined.

FYEAR is a Montréal-based ensemble led by composer Jason Sharp and poet/writer Kaie Kellough that fuses spoken word into genre-bending compositions for electronics, two voices, two drummers, and processed saxophone, pedal steel guitar, and violins. FYEAR incorporates drone, out-jazz, post-classical, ambient metal, avant-rock, and modular synthesis in a sonic and stylistic palette the opposite of collage or pastiche: the FYEAR ensemble integrates a unique and unified sound/aesthetic while traversing adventurous and variegated terrain. Kellough’s poetic materiality conveys acute political-existential themes, alternating between declarative, meditative, and cut-up/semiotic manifestations. This self-titled debut album is a supremely innovative 40-minute multi-movement work; an ardent mission statement that mines the interzone where Saul Williams, Moor Mother/Irreversible Entanglements, Shabazz Palaces, Zulu, Angel Bat Dawid, Damon Locks/Black Monument Ensemble, Shabaka Hutchings, and Matana Roberts are all iconoclastic neighbours. FYEAR melds improvisation and composition, traditional notation and graphic scoring, electronic and acoustic instrumentation, lucid recitation and abstract vocalization, balancing intensive structure with an expansive sense of exploration. Through several years of collaboration, development, workshops, commissions and performances conducted by Sharp and Kellough, their wordsound practice has culminated in this nine-piece group which also features poet/writer/activist Tawhida Tanya Evanson (present director of the Banff Centre Spoken Word program) violinists Josh Zubot and Jesse Zubot (Tanya Tagaq, Darius Jones, Joshua Hyslop), pedal steel player Joe Grass (Tim Hecker, Patrick Watson), drummers Stefan Schneider (Bell Orchestre) and Tommy Crane (The Mingus Big Band, Aaron Parks), with live visual typographics from Kevin Yuen-Kit Lo, who also designs the album art. Propelled by the vocal interactions of Kellough and Evanson, FYEAR interrogates our present and future post-capitalist polycrisis, invoking collective anxieties, emotions, and critiques. FYEAR re-poetizes our constructed, manipulated social/conceptual realities, re-inscribing questions about the future by setting them to a wildly dynamic and evocative temporal soundtrack: Who does it belong to? How will it be shared? How do we project a collective future into the contested challenges of climate change, global migration, wealth gaps, safety/precarity, identity/affinity, segmentation / segregation, all our seemingly irreconcilable histories and forward visions for the world we dream to inhabit