Repress!
Already familiar to fans of Freestyle Records acts Frootful and Lack
Of Afro after supplying her memorable voice to tracks by both, as well as working with masters of the mellow; The Ambassadors Of Sorrow, Angeline Morrison's ability to craft subtle, yet very catchy melodies infused with folk, bossa nova, R&B and jazz rhythms and textures ensures her music sounds fresh, engaging and highly original.
UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe
Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.
On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.
It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.
Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."
Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.
Two years after the stunning AFRICA OSCURA, Four Flies Records is back with another gem from Giuliano Sorgini's secret archives, this time one which unearths some of his darkest, eeriest music – that is, pieces he composed in the mid-70s for some of the most infamous, low-budget horror movies ever made in Italy.
This collection brings together a selection of original recordings from those movies, which were directed by "Italian Kings of the B's" Angelo Pannacciò, Salvatore Bugnatelli, Luigi Batzella, and Guido Zurli, with whom the Roman composer worked intensively throughout the 70s. Due to the very low-budget nature of the films, Sorgini recorded the soundtracks entirely on his own, in his Cat & Fox Studio in Rome. He played drums and percussions and added overlapping layers of analogue synths to create a superbly sinister soundscape, thus turning a constraint into an opportunity.
The result is a journey into the mysterious atmospheres of the Italian occult-sounding music of the time, something very close to the dark electronic masterpieces that made Sorgini famous, such as ZOO FOLLE or THE LIVING DEAD AT MANCHESTER MORGUE.
OCCULTO features ten previously unreleased tracks characterized by enigmatic moods, obscure beats and esoteric themes. All tracks are taken from original master tapes that remained buried in the composer's archives for decades.
The LP comes in a deluxe jacket and inner sleeve designed by Luca Barcellona. Also available in digital format with three previously unreleased bonus tracks.
PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.
They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music.
Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience
Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.
Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.
A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.
Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.
Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”
First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.
Repress!
Condition is the 2019 debut, full-length album from Natty Reeves. 11 tracks painting internal monologues and complex feelings across mesmerising groove-driven melodies and brightly coloured guitar soundscapes.
“I wanted to create an honest musical reflection of my past year. Condition is an attempt to balance my perfectionist approach and the imperfections in day-to-day life. The album was made in my bedroom with some help from close friends.”
All music throughout is written, performed, mixed and mastered by Natty, with the exception of Living Lonely & Living Lonely (Reprise) in which he brought in his good friend and long-time collaborator, Simon Jefferis. As well as being an expression of himself as a musician, it was also an opportunity for Natty to show off his artistic side with a paintbrush – Using paintings he has created himself as the artworks throughout.
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Natty Reeves is a multi-instrumentalist, producer and singer-songwriter currently residing in Brighton, UK. Taking inspiration from the likes of Chet Baker, Blake Mills and Antonio Carlos Jobim, Natty produces music riddled with charm and honesty that blurs the lines between Soul, Jazz and Hip-Hop. Drawing from real-life events and human interactions, Natty's song-writing is simple but potent, often cutting straight to the core of an emotion with a single turn of phrase.
1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata
A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case
We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!
Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.
Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!
The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!
An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!
The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.
The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.
Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.
The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.
Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.
Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.
Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.
Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.
The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."
THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION
Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.
Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.
On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.
Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.
Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:
‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’
Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”
Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).
"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave
- Limited Vinyl Edition + Art Print Bundle: (Transparente Vinyl in Premium Tip-On-Sleeve mit bedruckten Inner-Sleeve plus limitierten 12” Artprint – Prägedruck auf hochwertigem Karton.)
Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”
Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).
"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave
Translucent Blood Orange Swirl Vinyl. Wenn man zu sich selbst zurückkehren will, muss man manchmal alles abschütteln, was man einst für real hielt. „Human Human“, das Debütalbum der Chicagoer Sängerin, Songwriterin und Produzentin Carlile, strahlt wie ein Leuchtfeuer von diesem Ort der Transformation. „Human Human“ ist ein von ganzem Herzen kommendes und unerschöpflich großzügiges Pop-Schätzchen, das vor Freude über die uneingeschränkte Selbstakzeptanz strahlt - und über all die unangenehmen, erschreckenden Momente der Hingabe, die es braucht, um an einen Ort zu gelangen, an dem man sich endlich in sein eigenes schönes Chaos verlieben kann. Carlile ist der zweite Vorname und das Pseudonym von Emily Nichols, einer langjährigen Figur in Chicagos blühendem Underground-Musik-Ökosystem. In den letzten zehn Jahren hat sie eine ganze Reihe glänzender Synthpop-EPs veröffentlicht und ist als Vorgruppe für namhafte Indie-Künstler aufgetreten. In dieser Zeit hat sie akribisch den Grundstein für ihr Debütalbum „Human Human“ gelegt, ein unbefangen verspieltes und aufregendes Synthie-Pop-Werk, das in seinen kühnen, ausladenden Bögen an die Wärme von Robyn und den Glanz von MUNA erinnert. Ein Album, das das Vergnügen auskostet, einen ganzen Regenbogen von Gefühlen an die Wand zu spritzen. Auf „Human Human“ konzentrierte sich Nichols auch auf die Erweiterung ihrer Produktionsfähigkeiten, ein Schritt, der ihr die Freiheit gab, ihre Songs von der Idee bis zur Ausführung bis ins letzte Detail zu realisieren. „Vor diesem Album habe ich mich bei der Produktion eher zurückgehalten. Dies waren die ersten Songs, bei denen ich die Führung übernommen habe", sagt sie. Nichols arbeitete mit ihrem langjährigen Mitarbeiter Noam Wallenberg zusammen, um die Demos, die sie aufgenommen hatte, zu kristallisieren. Gemeinsam haben Nichols und Wallenberg den Glanz, der „Human Human“ auszeichnet, herausgearbeitet, indem sie Songs wie „Illusion“ mit zarten stimmlichen Akzenten versahen und in „Fake Nice“ Schichten über Schichten von freilaufenden Harmonien säten. Das Album enthält Produktionsbeiträge von einer bemerkenswerten Liste von Chicagoer Künstlern, darunter Neal Francis, Luke Titus, Macie Stewart (von Finom) und Cocojoey.
"The Modulations released their album It's Rough Out Here in 1975. This album featured the singles ""Rough Out Here”, “I Can’t Fight Your Love”, and the title track, along with other soulful tracks that explored similar themes of struggle and resilience. The singles received considerable airplay and managed to chart on Billboard’s R&B single Chart. While the group never achieved great mainstream commercial success, they garnered a dedicated following among soul music enthusiasts for their emotive vocals and heartfelt lyrics. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International. These sessions yielded to this album It's Rough Out Here, which is considered a gem of 1970s soul music, showcasing The Modulations' talent and ability to capture the essence of everyday life through their music. The group reached the pinnacle of its career with an appearance on Don Cornelius’ popular TV show Soul Train in 1976. It’s Rough Out Here is being reissued for the first time in almost 50 years and is available as a limited edition of 500 copies on yellow coloured vinyl. "
Experience the divine power of gospel music with the reissue of the legendary album Together by Gloster Williams and The King James Version. Originally released in 1977 on Gospel Roots Records, this seminal work is now re-released for the first time on vinyl, courtesy of Regrooved Records.
Together captures a moment in gospel music that is both timeless and transcendent. Led by the dynamic Gloster Williams, The King James Version choir brings an electrifying blend of traditional gospel with hints of soul and R&B, creating a sound that uplifts and inspires. This album is famed for its stirring harmonies, powerful lyrics, and the passionate delivery that fans and newcomers alike will find deeply moving.
Highlights of the album include the soaring title track, "Together," which has been a staple in gospel music playlists for decades, celebrated for its message of unity and spiritual upliftment. Each song on the album is crafted with care, featuring intricate arrangements and a raw emotional energy that captures the essence of gospel music's golden era.
This reissue is a meticulously remastered version that enhances the original recordings while preserving the authentic sound that made Together a must-have for gospel collectors and enthusiasts. It's pressed on high-quality vinyl to deliver the best listening experience, ensuring that the richness of the choir’s vocals and the depth of the instrumentation are beautifully rendered.
Don't miss this opportunity to own a piece of gospel history. The reissue of Gloster Williams and The King James Version’s Together is a testament to the enduring power of gospel music to console, celebrate, and connect us. Add this vital record to your collection and let its messages of faith and fellowship fill your home with joy and inspiration.
Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.
New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.
Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!
The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.
“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.
Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.
The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.
After teaming up with Boldy James to release Real Bad Boldy (2021) and Killing Nothing (2022) and linking up with rising star Pink Siifu for Real Bad Flights (2022), Real Bad Man returns to announce his first collaborative album of the year with Serpent.
Serpent brings Real Bad Man together with the inimitable Kool Keith and is produced in its entirety by Real Bad Man. Serpent features appearances from Slug of Atmosphere, Ice-T, Edan, Cool Calm Pete and Zeelooperz.
“My rhymes go where the tracks take me and Serpent took me on a journey through time and space. I channeled Ultra, Ocatgon, Rhythm X, and Black Elvis to make something new and mind-blowing” Kool Keith declares. When the Serpent bites, don’t try to understand it; just enjoy the injection. The sound dynamic crystals mix so proper, my vocals and guest appearances are set in the right spots.
“My goal for this album is to capture my favorite parts from Keith’s catalog. I wanted to make beats that got into his (Keith’s) subconscious” Real Bad Man maintains. “I think it worked. “
Mutant, in partnership with Hollywood Records and 20th Century Films, is proud to present the premiere physical edition of Mark Korven's terrifying score to THE FIRST OMEN.
Combining the inventive and dynamic instrumentation he is best known for, Mark Korven (THE WITCH, THE LIGHTHOUSE) has created a truly unsettling and powerful score to this new chapter to the legendary series. Jerry Goldsmith's Academy Award® winning score for the original 1976 classic THE OMEN is a totemic work of horror cinema. The film is the only time a horror film has ever won an Oscar for its score. Korven clearly knows he has big shoes to fill, because he takes his scoring style to powerful new heights with this brilliant work.
It helps that Mark Korven is one of our favourite working composers. His score to THE FIRST OMEN is an incredible achievement and a fitting inclusion in one of the most important legacies of Horror filmmaking.
A lot has changed since 1976, but one thing that hasn't is that horror scores deserve to be played as loud as possible, on vinyl, from your home stereo.
Purple[29,83 €]
Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.
Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.
Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.
Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.
Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.
At its best, harmony duo singing can transform simple math into a magic trick. One plus one, instead of equaling two, suddenly yields an unexpected third thing. An upper-case ONE. A universal hum. A deep vibration that encompasses two different points of view. On their latest release, Every Time I Think About You, brothers Page Burkum and Jack Torrey, aka The Cactus Blossoms, once again prove themselves to be among the most adept - and instinctive – modern practitioners of the classic tradition.
All sorts of emotional colors shine through on their new album. “Something's Got A Hold On Me” is pure Saturday night two-steppin' joy, “Keep Walkin'” has a Stones-y swagger and “There She Goes” casts its romantic regret against a danceable bop beat. “Statues” is a gorgeous meditation on the weight of permanent honor, “Is It Any Wonder” weaves its pledge of enduring love through nature images, and the title track is a heart-wrencher about loss and letting go. In all, the ten beautifully open-ended songs here invite listeners in to find their own stories as they revel in the old-school melodies and harmonies.
At its best, harmony duo singing can transform simple math into a magic trick. One plus one, instead of equaling two, suddenly yields an unexpected third thing. An upper-case ONE. A universal hum. A deep vibration that encompasses two different points of view. On their latest release, Every Time I Think About You, brothers Page Burkum and Jack Torrey, aka The Cactus Blossoms, once again prove themselves to be among the most adept - and instinctive – modern practitioners of the classic tradition.
All sorts of emotional colors shine through on their new album. “Something's Got A Hold On Me” is pure Saturday night two-steppin' joy, “Keep Walkin'” has a Stones-y swagger and “There She Goes” casts its romantic regret against a danceable bop beat. “Statues” is a gorgeous meditation on the weight of permanent honor, “Is It Any Wonder” weaves its pledge of enduring love through nature images, and the title track is a heart-wrencher about loss and letting go. In all, the ten beautifully open-ended songs here invite listeners in to find their own stories as they revel in the old-school melodies and harmonies.
Mystery colored vinyl (a unique and kooky mix-up from an exotic palette) and limited edition of 600 copies only!
From the mystical realms of a secluded ancient island, rising from the icy spray of the forbidden northern waters, comes the haunting, savage beat of a mysterious and primitive ritual. In this forgotten place, awash with wonder and enigma, echoing with the booming of sharkskin drums and bone rattles, the rock speaks with the voice of the gods. Weaving strange and terrifying tales, and tales of beauty and joy, Pagan Rites is a breathtakingly exotic tone poem that will make any Tiki bar come alive. Ixtahuele - the modern masters of exotica - legendary debut album finally back in print! The aim of the group is to provide the perfect soundtrack to bring your mind's eye on a time-traveling, round-the-world trip; taking you to faraway exotic islands, lost lands, and ancient cities - bringing back the Ottoman Empire, Port Royal, or even the mythical continent of Mu. Ixtahuele try to push the limits of where they can take you while still staying true to the genre; because after all the true armchair traveler can't make the Hawaiian Village the destination for every trip, but must also go to the Amazon, Micronesia, the Middle East, the Caribbean, and Indochina. All aboard!
Die Musik von Ausfahrt entspringt den Erfahrungen der Gitarristin und Komponistin Christina Zurhausen. Ihre eingängigen Songs beschreiben den rauen Alltag ihrer Heimat, dem postindustriellen Ruhrgebiet. Verschiedenste Elemente verschmelzen zu einem Lebensgefühl, zu den wichtigsten gehören die Grungerock-Ästhetik der 90er Jahre und die improvisatorische Energie des Modern Jazz. Es geht um Liebe und Streit, aber auch um philosophische Gedanken: Was hält die Welt im Innersten zusammen?Das eingespielte Quartett aus Köln besteht aus Yaroslav Likhachev am Saxophon mit seinen expressiven und virtuosen Linien, Torben Schug am Bass mit seinem klaren Ton und straight gespielten Riffs und Ramon Keckam Schlagzeug, dem gefühlvollen und verspielten Rhythmuslieferanten. Geleitet wird die Band von Christina Zurhausen, die mit ihrem unverwechselbaren Spiel gekonnt zwischen nachdenklichen Linien und ausgelassenen Sounds wechselt.Die 2015 gegründete Band Ausfahrt versteht es, Stimmungen von Elegie und Inbrunst auszudrücken, und ihre Improvisationen spiegeln die Bandbreite zwischen klagendem Weltschmerz, reißender Wut und versöhnlichen Klängen wider. Ob in streitsuchenden Riffs, verspielten Beats oder emotionalen Soli - Zurhausens Musik wird mit Punk-Attitüde und virtuoser Spielfreude direkt und unverschnörkelt interpretiert.
"Dance With Me Volume 4" is the fourth compilation record from Salon Recordings’ artists and affiliates. Features thirteen tracks from twelve artists including label founder Damar Davis, residents Sevyn, Oye Manny, Grandfather, and Bobby Cabbagestalk. Salon’s yearly compilations are a showcase of musicians across the globe who understand the unique elements that make up the Salon sound. From the most atmospheric corners of house music to up-tempo beats designed for the dance floor, Salon Volume 4 stays true to the signature soulfulness of the independent label. Featuring a tight line-up of new and familiar producers from all the US and beyond the compilation is a sampling of the best that the label has to offer. The tracks range in tone from hypnotically entrancing to beautifully ruminative, each an offering from artists shaping the dance music scene as it navigates the post-lockdown age.
Oasis’ debut album ‘Definitely Maybe’ celebrates its 30th anniversary this August. The fastest-ever selling debut in the UK on release, this seminal album marked the point when Oasis became a cultural phenomenon. Including the classic singles ‘Supersonic’, ‘Live Forever’ and ‘Cigarettes And Alcohol’, its songs sound as fresh and relevant as they did in 1994. Having sold over 6.9 million copies globally, it also sits as the 2nd most streamed album of the 90’s (following Oasis’ (What’s The Story) Morning Glory? at no.1). New 30th anniversary formats released to celebrate this landmark date include a Limited Edition deluxe 4LP and 2CD featuring including the previously unreleased and discarded original recording session from Monnow Valley along with outtakes from Sawmills Studios plus a demo of Sad Song featuring Liam’s vocal - all recently mixed for this release by Noel Gallagher and Callum Marinho. LP formats also include a retail exclusive coloured vinyl format – Digsy’s Dinner inspired “Strawberries and cream” pink and white marble 2LP. All versions feature brand new artwork by the original art designer Brian Cannon for Microdot and original sleeve photographer Michael Spencer Jones, plus new sleeve notes.
Human Worth are proud to present the stunning new full-length from the ferocious noise rock duo Modern Technology, with a portion of proceeds donated to charity. How two players can make this much racket just has to be heard to be believed. The bass guitar and drums duo Modern Technology sound deceptively larger, louder and noisier than one could expect. The duo of Chris Clarke and Owen Gildersleeve (Old Mayor) present their second full length album 'Conditions of Worth' through rising leftfield heavy label Human Worth. Encapsulating influences of ‘90s Touch & Go era noise rock, the grubby grit of sludge metal, and the ferociousness of post-hardcore, Modern Technology hit you with the same energy and volume as their lauded live shows – which for those who caught them on their recent UK tour with Chat Pile will be able to attest to!
Marching forwards as thoughtful as they are sonically unhinged, ‘Conditions Of Worth’ takes the duo’s voiced concerns and socially conscious outlooks further and louder, tackling issues including mental health, the effects of austerity, societal degradation, and the ever increasing climate emergency. ‘Conditions Of Worth’ is available as a limited edition heavyweight 180g Transparent “Utility Yellow” Vinyl in a stunning package designed by Chris Clarke. 10% of all sales proceeds will be donated to charity Choose Love, helping to provide humanitarian aid, search, rescue and legal advice to refugees and displaced people across the globe.
The wild greaser with an ever-broken heart, Cong Josie, is back! His
eagerly anticipated sophomore album; Moto Zone, pulls up throbbing,
revving, sweating and grinding hotter than bitumen on a summer day
It is a non- stop EBM'in', synth- punkin', rock 'n' rollin' and doo- woppin' sizzler, in
much the same vein as his 2021 debut Cong!. With this release however, Cong
pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder,
slow sleaze hip-grinding enters and the dream washes return to envelope all that
hear them like a siren's call. On Moto Zone, Cong conjures the age of rock 'n' roll,
a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair
pomade, with an Aussie twist on greaser 'cool'. Confessional lyrics tell tales of
addiction and mental illness tracing the scars of a troubled past. Cong says the
"Moto Zone" reflects his daily life and mindset. A life of ADHD, burning the
midnight oil, living on black coffee, obsessively creating and revving through
every day. Ultimately Cong is reaching for bliss, feeling connection and a new
world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful?
A lust for life? The record is all of the above.
The boys are seated under the shade of a family tree that bears its fruit on the branches of Kings of Leon & the Black Crowes; deeply rooted in an unwavering respect for Lynyrd Skynyrd & Led Zeppelin. Founded as an edgy, hard rock band in 2018, Mojo Thunder have built up a rabid fanbase in the time since with its enthralling live shows and down-to-earth humility. During that time the band has become one of the most entertaining new acts to emerge from Kentucky -- a state otherwise known for its bluegrass and country music. On the album's 10 tracks, the band explores everything from the dark side of activism ("Holy Ghost") and civil rights ("Memphis") to the healing power of a live concert experience ("Greetings from Western Art") and the feeling of not being enough ("Step by Step"). A definitive journey of growth, the project sees the band as their most authentic selves yet as they push themselves -- and their listeners -- to be the best versions of themselves. Mojo Thunder's sophomore effort, The Infinite Hope will please fans of rock music as they return to some familiar sounds while also ambitiously reaching for new heights.
It's finally here! We are proud to present two of Pola & Bryson’s most frequently requested anthems together on vinyl for the first time.
On 'Phoneline', a track which took the dance music scene by storm, Pola & Bryson and Emily Makis serve up their most captivating work to date through a blend of mesmerising vocals, songwriting and masterful production.
The B-side sees Pola & Bryson team up with Zitah for this outstanding cover of the R&B classic 'Tweet feat. Missy Elliott – Oops (Oh My)’.
Awards: Phoneline was voted as 2nd best track of the year (behind Badadan) in the 2023 D&B Arena Awards!
Awards: Emily nominated for best track and best vocalist in 2023 D&B Arena Awards
Awards: P&B nominated for best track and best producer in 2023 D&B Arena Awards
Awards: Emily nominated for best vocalist in DJ Mag’s ‘Best Of British 2023’ awards
Mystery colored vinyl (a unique and kooky mix-up from an exotic palette) and including an insert with a unique drink recipe by Martin Cate and more. Limited edition of 600 copies only!
Lush and exciting, rich and vibrant, the modern masters of exotica - Ixtahuele's 2nd album is finally available again. Guiding your mind's eye over oceans and mountains, through jungle and desert, teasing and enticing your ears with layered soundscapes and catchy melodies, you'll find yourself whistling along on a winding mountain road, stalking through the rainforest, or humming lazily on a tropical beach. Building on their previous releases, both musically and thematically, the group flirts with jazz, mambo, and space age pop, all the while retaining their classic acoustic exotica sound and a high level of musicianship. This is music to lounge by the pool to, to armchair travel, to share a cocktail with a lover or a friend or to imbibe sacred libation in the rumpus room or Tiki bar. Sophisticated and savage, it's exotica for the modern age!.
The world of ENDON is one of constant evolution and revolution. The Tokyo-based ensemble of Taichi Nagura, Koki Miyabe, and Taro Aiko have made a name for themselves with their relentless exploration of sonic extremes in the vein of artists such as the Boredoms and Merzbow. The resulting music is a powerful emotional release for both artist and listener. Their commitment to evolution and dystopian noise as a playground for exploration and pure expression carried them through the recent departure of their drummer Shin Yokota and the tragic death of brother and band member Etsuo Nagura in 2020. Where some might have tried to replace members, ENDON"s core pressed forward with an autobiographical work exploring these changes and the shifts in their lives. Honest and raw emotions delivered with uncompromising sonic intensity, Fall of Spring is a thrilling tidal wave of sound and raw emotions born of the psyche of three individuals musically congregating into one tumultuous voice. Fall of Spring captures the electricity and unpredictability of ENDON"s live performances in vivid detail. The album harnesses the power of their storied performances through unpredictable movements, deft arrangements and an exhilarating textural palette. By imbuing their sound with raw feeling at every edge of obliteration, the trio are able to create what they call "organic music with inorganic material." For ENDON, those moments of suspense and surprise are the core of their music. As with their shows, Fall of Spring is a vessel for band and audience to share moments, to suspend time and move through grief and pain, and to bask in catharsis and resilience. ENDON continues to be a mercurial force in the world of extreme music.
When the Amsterdam singer-songwriter Jana Mila (pronounced Yah-nuh
MEE-lah) began writing a song called "Chameleon," she thought she was
writing about someone else--a friend who seemed to be changing her
colors to please other people "But the more I lived with the song, the
more I felt like I was writing about myself," she admits "Doesn't everybody
try to reflect other people? Don't I change my own colors in order to be
accepted? Especially when you're young, you can lose yourself in other
people if you don't know who you are"
That is the central idea behind her debut album, also titled Chameleon, which
introduces Mila as an artist deeply committed to self- reckoning and selfpossession. Our innate desire to belong and to be loved can lead to a kind of selfannihilation, making us strangers to ourselves. Writing songs is her means of
finding and sustaining her identity."The album is a conversation with myself, a
way of getting to know myself better. There are little fears woven into every lyric,
but there's also advice to myself. I'm writing to find a part of myself that has
some wisdom."
Musically, Mila is the best kind of chameleon. The album draws from a wild array
of sources, entertaining new ideas on every song: dusty Laurel Canyon folk on
"It's True," catchy Nashville country on "Let Me In," driving '70s rock on "I Wasn't
Gonna." She puts her stamp on every note, turning those fears into an album of
remarkable confidence, eloquence, and power. Chameleon is a self- portrait
rendered in vibrant detail.
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“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee
King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.
Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.
Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....
“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee
Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.
The collection spans the decade-plus career of this remarkable band, whose goth-tinged, theatrical punk-pop sound earned them legions of devoted fans. It features their most beloved songs, including the hits 'I'm Not Okay (I Promise)', 'Helena' and 'The Ghost Of You' from 2004's 'Three Cheers For Sweet Revenge'; 'Welcome To The Black Parade', 'Famous Last Words' and 'Teenagers' from 2006's 'The Black Parade'; and 'Na Na Na (Na Na Na Na Na Na Na Na Na)' and 'Sing' from 2010's 'Danger Days: The True Lives of the Fabulous Killjoys', plus many others.
It also includes a previously unreleased song, 'Fake Your Death', one of the last songs the band worked on in the studio together, three songs from the infamous 'Attic Demos', as well as a long-form DVD with two hours of never-before-seen outtakes from MCR's official music videos.
'The title is fitting, because as sad as it was to say goodbye to the band, we look at this collection as a celebration of our best songs, and hope the memory of them continues to bring joy to you all as they have for us,' said band members Gerard Way, Mikey Way, Frank Iero and Ray Toro in a statement. 'We hope you take the journey with us into MCR's past, and enjoy the small taste of what might have been.'
Vinyl:
1. Fake Your Death
2. Honey, This Mirror Isn't Big Enough For The Two Of Us
3. Vampires Will Never Hurt You
4. Helena
5. You Know What They Do To Guys Like Us In Prison
6. I'm Not Okay (I Promise)
7. The Ghost Of You
8. Welcome To The Black Parade
9. Cancer
10. Mama
11. Teenagers
12. Famous Last Words
13. Na Na Na (Na Na Na Na Na Na Na Na Na)
14. SING
15. Planetary (GO!)
16. The Kids From Yesterday
17. Skylines And Turnstiles (Demo)
18. Knives/Sorrow (Demo)
19. Cubicles (Demo)
DVD:
20. I'm Not OK (I Promise) Version 1
21. I'm Not OK (I Promise) Version 2
22. Helena
23. The Ghost Of You
24. Welcome To The Black Parade
25. Famous Last Words
26. I Don't Love You
27. Teenagers
28, Blood (previously unreleased)
29. Na Na Na (Na Na Na Na Na Na Na Na Na) and Art
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* A brand new recording from the legendary Max Romeo whose recording career spans six decade. Max is of course best known for hits such as `War in a Babylon', `Chase the Devil' (aka `Iron Shirt' - as sampled by The Prodigy), `One Step Forward', `Wet Dream' and so on.
* This is a recent collaboration with producer Daniel Boyle from Rolling Lion studios who has been nominated for a Grammy Award for his recent album he produced with Lee Perry: `Back on the Controls'.
* This crisp musical biscuit features Max's vocal cut, a horns piece from Hornsman Coyote plus a dub version.
* This will be sure to move fast and won't be repressed
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If one band could be cited for the emergence of Ska music, that band would be the Skatalites.
Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica. The early line up consisted of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Tommy McCook (Tenor Saxophone), Johnny ’Dizzy’ Moore (Trumpet), Lester Sterling (Alto Saxophone), Jerome ’Jah Jerry’ Hines (Guitar), Jackie Mittoo (Piano), Llyod Brevett (Bass) and Llyod Knibbs (Drums).
Named originally The Satellites after the big news of the day, the Soviet space satellite. They became The Skatalites when band member Tommy McCook introduced a play on the characteristic ‘Ska’ sound, made by the guitar when following the’ after beat’ of the music.The group had already cut its musical teeth by playing under various guises around the Jamaican island in numerous ‘hotel bands’. When the big Sound System operators Sir Coxsane Dodd, Duke Reid and King Edwards needed new material to play out with and their usual source of the material, American R & B records were drying up. They turned to this pool of musicians to back up their main singers of the day. Delroy Wilson, Alton Ellis and Lord Creator to name but a few. Also to cut the many instrumental tracks they needed usually under the tutor ledge of Don Drummond, official band leader and main musical director. Their knowledge of the old mento tunes and an understanding of Jazz and R&B music somehow blended to make this musical sound that was to dominate the island from the early 60’s up until around 1966 when the sound would slow down to what we now know as Rocksteady.
The time span of the Skatalites career considering their output of litually 100’s of sides of music, was a relatively short one of just over two years. We have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing and the high quality they maintained. They recorded before they were named as a collective The Skatalites, when personal and financial problems became an issue the band split into two halves. Jackie Mittoo and Roland Alfonso going on to form The Soul Brothers band for Coxsone Dodd. Tommy McCook moving over to work with Duke Reid as musical director. Sadly, Don Drummond suffering for years from depression would see his career cut short ending in Belle Vue hospital in 1969.
But while together they cut some of the finest Ska Sounds to be found on record. We hope you enjoy this set as much as we have in putting it together.
So, stand Up, Listen Hard and do the Ska……
The clans of Activision, FromSoftware, and Laced Records have come together to release the majestic music of Sekiro: Shadows Die Twice on deluxe quadruple vinyl.
Set in a fictionalised 16th Century Japan, players take on the role of the shinobi Wolf in trying to protect the young Divine Heir Kuro from the remnants of the Ashina clan. Progression requires a mastery of stealth combat and extreme precision while battling some of From’s most iconic boss encounters to date. No one forgets the first time they bested Genichiro atop Ashina Castle...
The vinyl sets feature 50 tracks by lead composer Yuka Kitamura (Bloodborne, Dark Souls III) and co-composer Noriyuki "α" Asakura (Tenchu series.) The dramatic score features traditional Japanese instruments, orchestral and choral elements, and outlandish, mysterious sounds that transport listeners to a war-ravaged Japan during an alternative history Sengoku period.
Waxwork Records is thrilled to announce the soundtrack release of the 1987 horror cult-classic, EVIL DEAD 2.
Directed by Sam Raimi and featuring Bruce Camp- bell reprising his role as Ash Williams, EVIL DEAD 2 is known not only as the quintessential entry of the EVIL DEAD TRILOGY, but also of 1980’s cult-classic horror cinema as a whole. EVIL DEAD 2 remains the outstanding follow up to 1981’s THE EVIL DEAD, picking up where the first film leaves off, with even more blood, possession, dismemberments, and with generous elements of slapstick comedy.
The music by composer Joseph Loduca (The Evil Dead, Army Of Darkness, Ash Vs. Evil Dead) is the sophisticated follow up to the first film’s outstanding soundtrack, engrossing the listener in classic orchestral horror, electronic cues, and haunting lullaby compositions.
Waxwork Records is proud to present the deluxe, re- mastered-for-vinyl edition of the soundtrack to one of the most beloved films in the history of horror cinema.
Yannis Philippakis von Foals veröffentlicht sein erstes Solowerk, eine Kollaboration mit dem verstorbenen legendären Schlagzeuger Tony Allen. Yannis & The Yaw" präsentieren die EP 'Lagos Paris London', die nach den Orten benannt ist, an denen sie geschrieben und aufgenommen wurde und an denen sie beide gelebt haben. Das fünf Tracks umfassende Werk wird am 30. August auf Transgressive veröffentlicht.
Im Jahr 2016 bot sich Yannis die Chance seines Lebens: eine zweitägige Session mit dem großen Schlagzeuger Tony Allen, den er für seine einflussreiche, genreübergreifende Arbeit mit Künstlern wie Fela Kuti, Sébastien Tellier und Jeff Mills sehr bewundert.
Als Yannis sich in ein verrauchtes 70er-Jahre-Studio in Paris begab, erwartete er, dass sie eine nostalgische Afrobeat-Platte aufnehmen würden. Doch es kam etwas ganz anderes dabei heraus. Die beiden entwickelten schnell eine intuitive Telepathie, die Musik entstand aus Jams und Loops, und die verschiedenen Berührungspunkte - Rock, Funk, Jazz, Dub und mehr - wurden durch die einzigartige Atmosphäre des Aufeinandertreffens zweier Kulturen und kreativer Köpfe ergänzt, deren Ausdruck durch das Musizieren im und für den Moment selbst befreit wurde.
Zusammen mit Tonys regelmäßigen Mitstreitern Vincent Taeger (Schlagzeug), Vincent Turrell (Tasten, Marimba) und Ludovic Bruni (Bass, Gitarre) entstand bei diesem ersten Treffen eine Handvoll fast fertiger Songs, die in einigen nachfolgenden Sessions weiter entwickelt wurden. Aufgrund von Terminproblemen und Corona-Einschränkungen wurden die Aufnahmen jedoch nie abgeschlossen, bevor Tony im April 2020 im Alter von 79 Jahren verstarb.
Yannis fühlte sich zutiefst verpflichtet, das Projekt zu vollenden, nicht nur als bittersüße Art, seinen alten Freund zu ehren und zu feiern, sondern auch, weil Tony so begierig darauf gewesen war, diese Songs mit der Welt zu teilen. Das Ergebnis ist die kommende Fünf-Track-EP 'Lagos Paris London' unter dem Dach von Yannis & The Yaw - ein Projekt, zu dem er in Zukunft zurückkehren möchte, um weitere Kollaborationen mit inspirierenden Musikern aus der ganzen Welt einzugehen.
- Ltd. 12" EP
“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.
Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.
Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.
Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.
Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.
Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.
Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.
Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.
Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.
Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.
Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.
Leyya made it - das Duo tourte weltweit, spielte große Festivals und wird von Kritiker:innen hochgelobt. Mit ihren jeweils anderen Projekten und Produktionen zeichnen sich Sophie Lindinger (My Ugly Clementine) und Marco Kleebauer (Sharktank, Produktion für Bilderbuch, Faber u.v.m.) in den letzten Jahren auch außerhalb von Leyya als musikalische Genies aus und sollten die Wiener Independent-Szene nicht nur erobern, sondern prägen. Ihre Ankündigung, vorerst keine Konzerte mehr zu spielen, ist jedoch keinesfalls als Rückschritt, vielmehr als ein Schritt zur Seite zu sehen: "Wir sind endlich wieder bei uns selbst angekommen und es fühlt sich richtig an", so das Duo und produziert als Auszeichnung der Aussage innerhalb einer Woche beinahe ein ganzes 16-Track-Album. Half Asleep ist Bremse, Innehalten und Reflexion, eine Besinnung an die Gegenwart.
Saxophonist and composer Wayne Escoffery reflects on love, loss, and solitude on his stunning new album, an atmospheric and haunting mood piece, Alone, featuring a remarkable all-star quartet with pianist Gerald Clayton, bassist Ron Carter, and drummer Carl Allen. In the summer of 2023, saxophonist and composer Wayne Escoffery found himself alone in a way that he’d never quite experienced before. He was away from home, on sabbatical in Europe with a month to himself between tours. A long-term relationship had just ended, and he was confronted with the loss of friendships that he’d once valued. Worst of all, he’d suffered a broken finger that left him unable to play the saxophone for the first time since he’d picked up the horn in high school. “Normally, my coping mechanism would be the saxophone,” Escoffery laments. “But even that wasn't available to me for about nine weeks, so I just had to be alone in my thoughts.” He made good use of this alone time, conceptualizing the music that makes up his striking and singular new album. What emerged from that solitude was an extended mood piece, a workunique in Escoffery’s typically wide-ranging catalog for its sustained atmosphere of stark melancholy and searching introspection. Alone was conceived during a time of isolation, heartbreak, regret, and reflection, but the experience of the album is far richer even than that. In the end, “I was forced to reflect on life and what was most important to me,” Escoffery concludes. “The concept of this album grew out of that reflection.”
Ltd Magenta Vinyl[22,90 €]
If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.
Los Bitchos promise to turn the global indie rock scene upside down in 2024!
Black Vinyl[22,90 €]
Ltd Edtion
If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.
The music of Will Griffith's The Great Dying is a mix he likes to call dark country. He grew up in Cleveland, Mississippi, where D.I.Y. punk house shows hooked him, and his early bands played The Farmhouse and legendary delta juke joint Po' Monkey's. Songs from The Great Dying's new album, A Constant Goodbye, were born from playing hundreds of shows supporting Bloody Noses & Roses (Dial Back Sound 2018), and it continues where the debut left off. The ballads are still sweet and menaced, the rockers are still hair-raisers, but the new record pushes in new directions, infusing sounds of classic country with faint traces of The Replacements and what was once called "alternative rock." The tracks are layered and varied: wall-of-sound arrangements grind against flange-bass and fiddle, with Griffith's barebones acoustic guitar and vocals at the root, and heartbreak all over. Coming from another artist, this blend of influences would tank, but somehow it suits The Great Dying just fine. Pick any number on the new album-it's a winner.
“Chiroptera” is the soundtrack of « Acte 2 : Retour à la Caverne », a creation by JR with Thomas Bangalter and choregraph Damien Jalet , performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers.
Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.
Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.
More than two years after the release of 'Impressões de Outra Ilha', Discrepant's head honcho returns home under his birth name with the appropriately titled 'Exotic Immensity'. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more rough around the edges collages of previous works under a myriad of aliases - Discogs it, if you will -, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and kösmiche-like synth harmonies.
Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau or 50's pop-science books, the music on 'Exotic Immensity' transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of 'Réplica(s)' until the closing moments with the touching chord progression and mangled voices of 'Pó Nuno'. In-between, the foghorn meets bass clarinet melody of 'Ossos' recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of 'Desumanização (I & II)' until tape orchestral swells carry us into the aether. 'Aquário Novo Mundo' brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. Are we still here? Somewhere? The muffled looped rhythmic sequence of 'Imagem/Miragem', cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.
'Exotic Immensity' exists on the perpetual outside. Blessed be Cardoso for showing us a way in.
Black Bile compiles some of Umberto"s most resplendent, sanguine music to date The solo work of LA composer Matt Hill draws heavily from the world of cinema, spinning immersive narratives and rich atmospheres using sound alone. Hill, an active composer for film and television, recently scored the 2022 Jerry Pyle film Loveseat (soundtrack was released in 2023). Other recent scores include the 2020 thriller Archenemy, from the producers of cult classic Mandy. Inspired by the ancient Greek theory of the "four humors," an early medical theory linking the inner workings of the human body to the elements. "Black bile" specifically links the feelings of melancholy with autumn. Hill"s celestial compositions are an autumnal soundtrack conveying beauty, yearning, reflection and comfort. Many of the album"s phrases are constructed from just two notes or sounds, arranged by Hill into complex patterns that undulate with an organic pulse. The spare melodic structure holds a myriad of small and beautiful details. The songs began with Hill improvising on the piano, to find the notes and patterns that created the musical and emotional structure from which he could expand with textural detail. Hill then would often remove the initial structure leaving a sparer and more skeletal one which he could again expand upon to create a full piece. The careful attention to each detail gives his minimal compositions emotional heft. The album masterfully stakes Umberto"s claim among other avant-ambient boundary pushers such as Lawrence English or Laurel Halo.
Die südkalifornische Shoegaze-Truppe Cold Gawd kehrt zurück zu Dais mit ihrer zweiten und bisher besten Suite von erdrückender Downer-Seligkeit: "I'll Drown On This Earth". Vom trotzigen Schrei, mit dem das Eröffnungsstück "Gorgeous" beginnt, reißt das Album mit, was Sänger und Haupt-Songwriter Matthew Wainwright als "Go for it"-Modus beschreibt: Nichts zurückhalten, keine Zeit verschwenden. Obwohl der Großteil der Songs im Jahr 2022 geschrieben wurde, waren die Aufnahmesessions nicht vor März 2024 gebucht, so dass genügend Zeit zur Verfeinerung und Destillierung der Hooks, die Schwere und den Dunst der Musik war. Das Ergebnis ist ein perfekter Sturm aus Verzerrung und Dream-Pop, zerrissene Liebeslieder, die sich in schwindelerregende Wände aus Lärm legen. Aufgenommen bei Paradise Recorders in Anaheim, Kalifornien, mit Colin Knight (von der Post-Punk-Band Object of Affection), spielte Wainwright die Streicher ein, während Cameron Fonacier das Schlagzeug bediente. Der Prozess war effizient und effektiv, geschärft durch jahrelange Performance. Songs wie "Portland", "All My Life, My Heart Has Yearned For A Thing I Cannot Name" und "Malibu Beach House" klingen dynamisch und gehen den Musikern in Fleisch und Blut über. Die Texte von Wainwright wurden nur eine Woche vor der Aufnahme geschrieben. Stimmungen der Surrealität, Verliebtheit und Melancholie flackern und verblassen in einem Nebel aus Erinnerung und Hall. Wie auf "God Get Me The Fuck Out Of Here" von 2022 manifestiert sich die zeitgemäße Vision des Shoegazevon Cold Gawd auf faszinierende Weise in Momenten, wie der gedämpften, strudelnden Träumerei von "Tappan", oder dem dunstigen, schleppenden Downtempo von ""Nudism"" (mit königlichem Klavier-Outro). Ihre Muse ist so lebendig wie vielfältig, sie reicht von "Loveless" von My Bloody Valentine über Drake, Post-Hardcore und Beach House. "I'll Drown On This Earth" erweitert auf eindrucksvolle Weise den Kanon von Cold Gawd, dicht an Riffs und Entrückung, Flucht und und Offenbarung, kanalisiert durch gestapelte Verstärker und versteckte Kräfte: "Give praise / to whatever / I got time for / hallelujah."
Die südkalifornische Shoegaze-Truppe Cold Gawd kehrt zurück zu Dais mit ihrer zweiten und bisher besten Suite von erdrückender Downer-Seligkeit: "I'll Drown On This Earth". Vom trotzigen Schrei, mit dem das Eröffnungsstück "Gorgeous" beginnt, reißt das Album mit, was Sänger und Haupt-Songwriter Matthew Wainwright als "Go for it"-Modus beschreibt: Nichts zurückhalten, keine Zeit verschwenden. Obwohl der Großteil der Songs im Jahr 2022 geschrieben wurde, waren die Aufnahmesessions nicht vor März 2024 gebucht, so dass genügend Zeit zur Verfeinerung und Destillierung der Hooks, die Schwere und den Dunst der Musik war. Das Ergebnis ist ein perfekter Sturm aus Verzerrung und Dream-Pop, zerrissene Liebeslieder, die sich in schwindelerregende Wände aus Lärm legen. Aufgenommen bei Paradise Recorders in Anaheim, Kalifornien, mit Colin Knight (von der Post-Punk-Band Object of Affection), spielte Wainwright die Streicher ein, während Cameron Fonacier das Schlagzeug bediente. Der Prozess war effizient und effektiv, geschärft durch jahrelange Performance. Songs wie "Portland", "All My Life, My Heart Has Yearned For A Thing I Cannot Name" und "Malibu Beach House" klingen dynamisch und gehen den Musikern in Fleisch und Blut über. Die Texte von Wainwright wurden nur eine Woche vor der Aufnahme geschrieben. Stimmungen der Surrealität, Verliebtheit und Melancholie flackern und verblassen in einem Nebel aus Erinnerung und Hall. Wie auf "God Get Me The Fuck Out Of Here" von 2022 manifestiert sich die zeitgemäße Vision des Shoegazevon Cold Gawd auf faszinierende Weise in Momenten, wie der gedämpften, strudelnden Träumerei von "Tappan", oder dem dunstigen, schleppenden Downtempo von ""Nudism"" (mit königlichem Klavier-Outro). Ihre Muse ist so lebendig wie vielfältig, sie reicht von "Loveless" von My Bloody Valentine über Drake, Post-Hardcore und Beach House. "I'll Drown On This Earth" erweitert auf eindrucksvolle Weise den Kanon von Cold Gawd, dicht an Riffs und Entrückung, Flucht und und Offenbarung, kanalisiert durch gestapelte Verstärker und versteckte Kräfte: "Give praise / to whatever / I got time for / hallelujah."
Limited to 350 copies
Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.
Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.
Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'
'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.
But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.
On Hindsight, Nick Zanca's first album as a singer-songwriter, Zanca leads a crack band of musicians from all over New York's musical map. After nearly a decade making electronic music under the name Mister Lies, Zanca began focusing his energies as a producer, working with adventurous up-and-coming artists such as Wendy Eisenberg and Lucy Liyou and sculpting songs of his own. Hindsight moves boldly beyond the synthetic textures of his early career, blending AOR, jazz fusion, electroacoustic improv, and even musical theater into wholly organic music. He examines age-old quandaris from his own unique viewpoint: the dehumanizing effects of industry and capitalism, a childhood developmental diagnosis, a difficult romantic situation. It's unapologetically itself, honest - and relatable. It doesn't equivocate: Zanca's world is ours, too.
The Slovak trio Berlin Manson was formed as a so-called apartment band in the dark days of Corona lockdowns. The founders Patrik Nagy and Adam Dragun compensated for the lack of cultural activities by creating new and original music, where Patrik provided D.I.Y. made electronic beats with live guitar playing and Adam provided his lyrics full of irony and criticism of the scene and society.
After the first successful concerts and singles, the cloud around the name Berlin Manson is steadily growing. It wasn't until a track and music video titled I'm not dancing I'm nodding my head that catapulted them into the limelight of the alternative scene, heralding their debut EP Life Ends When You're Thirteen (2022). Later, the original duo were joined by drummer Tomáš Tabiš, who is also in the band 52 Hertz Whale, whose album was also released under the Weltschmerzen label. Their concert performances have gained more momentum and their drive has made them one of the most popular club and festival line-ups in Slovakia and the Czech Republic.
After a successful collaboration on the 2023 single Hotel Kyjev with Pisht Kralovic a.k.a. FVLCRVM, the band is releasing their first full-length album Poor but Sexy, with which they are moving under the Weltschmerzen roof. The fusion with roots in electronica, punk, pustpunk, rave and HC is once again complemented by Adam Dragun's great lyrics, which alternate social engagement with sarcasm, irony and cynicism, or nostalgia and sadness. On the current release we can also hear collaborations with guests such as Katarzia, Edúv Syn, Fvck Kvlt, Temný Rudo, Dušan Vlk or Paris.
Im August 2023 wurde Elder während einer Europatournee eingeladen, eine Live-Session in den legendären BBC Maida Vale Studios für die Radio 1 Rock Show mit Dan Carter aufzunehmen. Die daraus resultierende Session ist eine Momentaufnahme der kraftvollen Live-Performance und Setlist der Band von dieser Tour. Die Session wurde an einem einzigen Nachmittag in wenigen Takes unter der Anleitung der langjährigen BBC-Toningenieure Guy Worth und Clive Painter aufgenommen und von Carl Saff für Vinyl gemastert und geschnitten. Elder und Stickman Records haben sich große Mühe gegeben, ein Deluxe-Paket für Hardcore-Fans zu liefern, einschließlich wunderschönem Artwork von Designer Adam Hill, 180Gr. schwerem, roten Vinyl, einem vollformatigen A2-Faltposter und einem Download-Code. Das Album ist auch auf CD und digital erhältlich.
The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.
"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.
Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.
Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.
‘Rick Astley's 1991 album 'FREE' marked a significant departure from his previous pop-driven sound, showcasing a more mature and introspective side. The album, which featured a blend of pop, soul, and R&B influences, and a star-studded list of collaborators, including Elton John, Michael McDonald and Mark King, presented Rick in a new light, exploring themes of love, loss, and personal growth. Singles like ‘Cry for Help’ and ‘Move Right Out’ displayed Astley's emotive vocals and soulful delivery.
'Free' received critical acclaim for its musical diversity and Astley's vocal prowess, earning praise for its mature songwriting and emotional depth. 'Free' remains a standout moment in his career, demonstrating his artistic evolution and versatility as a musician. With its heartfelt lyrics and soulful melodies, 'Free' continues to resonate with listeners, offering a timeless exploration of love, freedom, and self-discovery.
The LP format is available for the first time featuring the full 11-track album (originally released with just 10 tracks) and comes in a highly desirable gold mirrorboard sleeve. The double CD format features 18 bonus tracks, 7 of which are previously unreleased, including studio track ‘Call Me’.
Multi-Blues Music Award-Winner Albert Castiglia Assembles All-Star Cast of Righteous Souls on His New Gulf Coast Record Album including Joe Bonamassa, Josh Smith, Danielle Nicole, Christone "Kingfish" Ingram, Popa Chubby, Ally Venable, Kevin Burt, Monster Mike Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter and Alabama Mike.
"During last year's "Blood Brothers" tour, Mike Zito informed me that it was time for me to do another solo album. At that moment, I felt I was ill prepared for the task. I had been constantly touring with Mike for the last two years, doing very little writing so I didn't have a lot of original material. My last two studio albums were quite thematic. With 'Masterpiece' the album centered around the discovery of my daughter. 'I Got Love' was fueled by my life during the pandemic of 2020. What would be the thing that fuels the next one? It concerned me because if I'm not living the songs, it'll never work. It had to mean something to me. Mike suggested we make it an album with guests, my friends so to speak. I was concerned my friends wouldn't have time to devote to the project. I was wrong, so wrong. Joe Bonamassa, Josh Smith, Kevin Burt, Gary Hoey, Ally Venable, Popa Chubby, Rick Estrin, Kid & Lisa Andersen, Alabama Mike, Jimmy Carpenter, Kingfish Ingram, Danielle Nicole, Monster Mike Welch, Jerry Jemmott, D-Mar Martin, Jon Otis, Jim Pugh and others stepped up for me. My daughter, Rayne even participated which was the cherry on top. Suddenly, the theme became clear. It's about friends and family. It's about 'Righteous Souls'." - Albert Castiglia
THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.
The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!
On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.
All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.
Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.
This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.
SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.
I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”
I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”
Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.
This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.
Current 93’s first and last album, NATURE UNVEILED dragged together my obsessions, as I had decided to make a pop album that dealt with my (then—as now!) primary fascinations: Christian apocalyptic and eschatological Christian texts.
In my Speed-Ridden Soul and Mind, I thought I was reinventing The Ronettes, and that the 2 long sides of NATURE UNVEILED were A- and B- Sides of a Wall Of Soundhogs HIT! But the reality is that I was sharing a squat in Vauxhall with Little Annie Anxiety, and hanging out with Youth in The BatCave, with chickens rescued by The Animal Liberation Front in our backyard. Or did that come soon after, soon later? The album was recorded at The Roundhouse Studios in London’s Chalk Farm, home of Bronze Records, the label of my heroes (then—as now!) Uriah Heep, and Motörhead too, for whom I had moved stage-gear on their tour promoting their debut single on Chiswick Records.
Anyway, anyway—I had not reinvented The Ronettes, though every time, every place, I listen to NATURE UNVEILED it Hits Me, And Feels Like A Judas Kiss. There has been NOTHING UNVEILED like NATURE UNVEILED, Before, Since, Or After.
Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.
This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.
This is the repeated call and the rallying chorus of the nearly 40-minute centerpiece to composer and percussionist Asher Gamedze’s new album Constitution. The expansive double album, a minoritarian fellowship in breath, is Gamedze’s follow-up to 2023’s Turbulence and Pulse (IARC0057), and his first with The Black Lungs. The album – recorded in one day at Cape Town’s Sound and Motion Studios – is an elaboration of the possibilities of autonomous constitution in and through polyrhythmic, modal, large ensemble music.
On Constitution, the power of the question, the possibility of an improvised answer and the celebration of being together exists not in the solo but in the group, the ensemble. Here The Black Lungs collectively explore and deconstruct the conceptual, tonal, and atonal possibilities of themes which are at once of old and new dreams - curious and instantiative, melancholic and emergent.
“The Black Lungs is inspired by the revolutionary thought and practice of the Black Consciousness Movement. In particular, the relationship between antagonism – constituting a united front of all the oppressed against white supremacy and racial capitalism – and the possibilities for resistance and elaboration - the creative militant capacities of those assembled – enabled and unleashed by that process of constitution.”
Formed in 2007, The Boxmasters have recorded an impressive and diverse catalogue of music that touches on their love of a wide array of influences, but most importantly, the rock and roll of the 1960’s. Love & Hate In Desperate Places is their 17th album and the ten songs evince a wry perspective on human nature and love. The lively melodic rock cloaks the wry wit of the lyrics. The album was produced by The Boxmasters, Billy Bob Thornton and J.D. Andrew, who also wrote every song. Listening to The Boxmasters, one can hear obvious odes to the Beatles, Byrds and Beach Boys, but also important to The Boxmasters are The Mothers of Invention, Kris Kristofferson, John Prine and Big Star. Since forming The Boxmasters, several long-time friends have contributed to the sound of the band, but the core of The Boxmasters has always been Andrew and Thornton. As primary songwriters, the sound of the Boxmasters has been an evolution as the duo constantly strive to find new inspiration, new sounds and new ways of expressing what is in their hearts and on their minds. But at the core, there is a backbeat, a lyric with meaning and music played with emotion. As a touring band, The Boxmasters have cultivated a rabid cult fanbase across the United States and Canada. Opening for the likes of ZZ Top, Steve Miller, George Thorogood and Kid Rock The Boxmasters have proven to win over large audiences. As a headliner, frequent stops in Kansas City at “Knuckleheads”, Springfield, Illinois at “Boondocks” and “Merrimack Hall” in Huntsville, Alabama have shown dedicated yet still growing audiences. Two appearances at Levon Helm’s “Midnight Ramble” in Woodstock, New York were highlight performances for the band, as well as the “Ramble at The Ryman” that Levon hosted in 2008. The Boxmasters performed on “The Grand Ole Opry” in 2015, another in a growing resume of must-play venues.
Amazing compilation of Litto Nebbia's recordings from 1971-1988, a magical and prolific time in the career of the Argentine artist and in the history of his record label, Discos Melopea, including different sounds, from jazz to Brazilian rhythms or experimental textures. Hip-hop artists and producers such as The Alchemist, Jay Electronica and DJs such as Gilles Peterson have openly declared their admiration for Nebbia, generating great interest in his records among collectors around the world. This double-LP compilation, first one ever released in Europe, comprises twenty one recordings taken from some of his best-known albums and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before. This compilation, the first to be released in Europe, is a subjective look into his fascinating work. It has no historical biographical pretensions or completist aspirations. The selection includes forays into different sounds, from jazz to Brazilian rhythms or experimental textures, which show the rich variety present in Litto Nebbia's vast discography. This collection of songs extends throughout the period 1971-1988, a magical and prolific time in the career of Litto Nebbia and in the history of his record label, Discos Melopea. It comprises twenty one recordings taken from some of his best-known albums, "Bazar de los milagros", "Canciones para cada uno", "Toda canción será plegaria" and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before.
CLOUDY SEA BLUE VINYL[28,53 €]
"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".
GOLD VINYL[24,79 €]
A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.
BLACK VINYL[20,38 €]
A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.
Rising UK label Human Worth proudly present TORPOR's third full length album Abscission. A fine tapestry of sludge metal, lumbering doom riffs, forward thinking post-rock dynamics, cerebral drone passages, ambient textures and stark spoken poetry. Recorded by producer Wayne Adams (whose credits include Wallowing, Green Lung, Possessor and more), 'Abscission' is a paean to earth shattering tones, subtle detailed textures, immersive sound design and most importantly... ABSOLUTELY CRUSHING HEAVINESS. For their third album, TORPOR were compelled to withdraw into the bleak and elemental vistas of rural Wales, embracing isolation and solitude in order to craft this autumnal sonic landscape. The trio brought producer and frequent collaborator Wayne Adams (Petbrick, Big Lad) out of his London city studio to work at Giant Wafer Studios.
TORPOR's excursions into the wilderness can really be felt across these lengthy songs. Bludgeoning riffs show a new found density and weight reminiscent of gallant trees standing tall amongst battering wind and rain. All of this sonic magnitude has been finely captured by Adams, with the final master by James Plotkin (Khanate) completing this all-encompassing experience – quite fittingly the trio were also invited to showcase the album in full at the 2023 Roadburn Festival, on the day that Khanate headlined! Abscission is the sound of Torpor fully realising their visceral and cinematic vision, turning an unflinching gaze towards the unrealised lives we all carry with us. Human Worth have pressed a limited edition of environmentally conscious Eco-Mix Vinyl in a stunning packaged designed by Jack Burley, featuring a 12" foldout insert, with 10% of all proceeds donated to charity Second Step – a leading mental health charity in Bristol and the South West.
The Boy With The X-Ray Eyes is the debut album by British rock band Babylon Zoo, released in February 1996. It features the single
“Spaceman”, which charted at number one on the UK Singles Chart after being featured in a popular Levi’s jeans
TV advertisement in late 1995. The album peaked at number 6 on the UK Albums Chart and met with generally favorable reviews.
People that like their electronic music extreme are definitely familiar with underground legend DEFORMER. Those who hear the name for the first time have been looking in the wrong direction for the last 25+ years! DEFORMER has been a source of inspiration for many groundbreaking artists for its ever evolving originality.
Rooted in Jungle, Breakcore and putting any genre possible into the mix, DJMAG fit-tingly stated: 'DEFORMER operates in a category of one'. This time around some classic DEFORMER tracks formed the starting-point for some of the most legendary hardcore producers to create a selection of devastating remixes. From Hardcore kings Angerfist and Neophyte, to Tripped, The Outside Agency, Terror pioneer Drokz and others, this record will be on heavy rotation for the years to come.
Instant classic!
Truxx, the duo at the head of Sine Space 7, is back with their latest 4-track EP, "Euphoria and Illusions", set to release on August 30th. This highly anticipated release captures Truxx's signature blend of powerful, bleepy sounds and immersive atmospheres, offering a refreshing experience through raw energy and minimalism. Known for their ability to create hypnotic patterns with distinctive melodies, Truxx crafts melodic patterns in a dark and texture-rich soundscape. "Euphoria and Illusions" promises to break open every mix with a unique sound. This will be the first vinyl release of the label.
Grammy-nominated blues, soul and Americana singer is beloved and honored worldwide for her joyful, defiant music and thrillingly soulful performances. Blame It On Eve is another exhilarating Shemekia Copeland showcase, as her rousing vocals bring the heat to an infectious array of muscular rockers, stomping blues, swampy soul, and heartbreaking ballads. Intense, topical new originals make up most of the tracks and soul-soaked versions of songs by Stevie Wonder and her father, Johnny Copeland, fit right into the mix.
Katharine Whalen of Squirrel Nut Zippers fame, makes a triumphant return with her Jazz Squad featuring Austin Riopel on guitar, Danny Grewen on trombone, and the great Griffanzo on pianos. This time the chanteuse delivers an entire album of breezy west coast jazz sounds in the form of a tribute to Chet Baker. It was around 1996 when Katharine Whalen first made her grand entrance onto culture’s collective radar as the sultry, yet effervescent voice of the Squirrel Nut Zippers, where she remained until their initial disbandment around the turn of the century.
In addition to the Zippers putting dixieland jazz on the pop charts in the 1990s, they sneakily introduced an unsuspecting "alternative" crowd to jazz music. Her cultural impact was also felt when she voiced the song "You You You You You" a standout track from Stephin Merritt's (The Magnetic Fields) project titled The 6ths. That song would also find its way into commercials and the film Pieces of April. After recording one solo album for Mammoth Records shortly after leaving the Zippers, Whalen stepped out of the public eye.
However, she’s remained very much in the spotlight of one unique small town; Hillsborough, NC, which has been referred to as Twin Peaks meets Northern Exposure. It’s a surreal literary, liberal Mayberry. If you find yourself in this Southern portal, you can find Katharine Whalen's Jazz Squad playing monthly in a cocktail bar appropriately named Yonder. The album was recorded in an old chapel in Hillsborough by North Carolinian royalty, Jerry Kee (Polvo, Superchunk, The Kingsbury Manx). Each song was recorded with the band all playing together in the same room, the way the old jazz records used to be put to tape.
On Goose Bumps, Connecticut's Boyscott present ten upbeat tracks that forge together elements of surf rock and bedroom pop. Weaving these supple sounds of yore into the techniques of today, Boyscott's distinct bedroom-recorded bops betray the limitations of their modest studio situation with a sonic depth not commonly associated with lo-fi projects. Originally released in 2015, Goose Bumps is getting its first vinyl reissue with a co-release by Topshelf Records and Babe City Records. Although it took a few years of rotating casts, various makeshift studio experiences, and over a hundred shows, Boyscott have clearly carved out their own place in the world, garnering millions of streams and selling out many DIY physical pressings in the process.
We welcome you, Endless Rüttenscheid", sing International Music in the title track of their third studio album, which will be released on 6 September 2024. The album title "Endless Rüttenscheid" is likely to be a real challenge for fans outside the German-speaking world. "Endless", of course, but then: a rolling R followed by an umlaut, a double T and a hard pronounced D at the end: Rüttenscheid. This is the name of the flourishing district of Essen in the centre of Europe, which stands for lucrative growth in the Ruhr region, but also for the well-known problem of gentrification. But as is usual with international music, such socio-political subjects mainly form spaces in which to fall in love, dream and part again, only to meet again one day. "Heart is the trump card", to quote the cult band TRIO, who have more than just the size of their line-up in common with International Music.
Black Vinyl[30,88 €]
The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.
Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.
Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.
Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.
Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.
Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."
Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.
Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.
Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.
It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”
It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”
*BLACK VINYL*Asher White's third album in two years (and fifteenth overall), Home Constellation Study is less a refinement of last year’s sly, quaint New Excellent Woman and more an explosion of it. Her meticulous chamber pop has given way to resplendent swells of horns and squeals of noise, throbbing bass and queasy orchestral loops. The cover, painted by White, frames a burst of flowers against a dark blue abyss, mimicking the music: over frenzied sambas, bleary slacker rock, hushed ambient meditations, and surprisingly slick disco. The past year has found the prolific Providence-based singer-songwriter ascending through her city’s fertile experimental rock scene alongside the breakout synth-punk act BabyBaby_explores and her labelmates Or Best Offer. Live, White’s band plays riotous, unpredictable noise rock that nods to their city’s storied DIY scene; on Home Constellation Study, mid-album highlights like “Downstate Prairie” and “Hymn” nod to Providence’s bands of yore with their blistering sheets of feedback and pummeling drums, placing White, improbably, within the lineage of local heroes Les Savy Fav or the broken pop dispatches of Black Pus. At its core, however, Home Constellation Study is the product of studied, monastic auteurism. Like New Excellent Woman, it was arranged, performed, recorded and mixed by White alone in her basement studio in Providence. “Happy Birthday” is an earnest psalm, a paean of devotion and remorse to God a la Beverly Glenn-Copeland that drifts along with Panda Bear haziness. White’s concept of “toxic femininity” undergoes further investigation on “Good luck!” and “Runes,” both with Elliott Smith-like chord changes and the barbs of cynical romantics like Aimee Mann. Asher White’s vision has never been so expansive and unpredictable.
For those of you who"ve mislaid your history goggles, this archival release recalls an ancient time in the world of recorded music. Yes, back in the dinosaur days of the 1990s, a creature known as Aerial M walked the earth, before evolving into Papa M and PAJO and beyond and back. Even then, the music of M had a next-wave vibe, walking upright among the knuckle-draggers (and having drinks in the evening with others of its genetic detatchment). It was too much to last very long, of course - but some things end up lasting forever, don"t they? Fuck! So it is today that Drag City, an organization largely set up to bring you the best of all available M recordings, is proud to be there for the release of the only Aerial M session ever recorded for John Peel"s BBC Radio One show, as it was originally recorded on 3rd March 1998 and broadcast on 2nd April of the same year. The studio versions of these songs, which appear on Aerial M"s S/t album (DC114) and Papa M"s Hole of Burning Alms comp (DC231), were played by "M" himself (now revealed to be David Pajo!), which makes this album a rare alternative view of the canonical M, played by an actual Aerial M band who, all too briefly, embodied the sound for a year or so before Papa brought a brand new bag. This Session found them fortuitously roadburned from several weeks in the European Theatre. So much the better for our archival ears, as OG-M"s signature minimalist long-fuse sizzle is thrillingly intact here; in fact, even more so, as the tunes are jammed out past the studio versions" originally delineated borders, reaching rudely across the table in moments of liveness that the studio-bound project might have decided against when conferring only with the walls. For fans of their epic version of "Turn Turn Turn", this is more sweetmeats from that raucous old skull - but if you"ve not been down this road before, be prepared: the taste will set you slowly aflame. And then, before you know it, the band is dined and dashed - just like the band that Aerial M was, all too briefly amok on the earth that was too.
DARKEND is the band fronted by Animae (also guest vocalist for GAAHL'S WYRD on various European festivals & venues). After a rather ordinary start based on thelikes of orchestral extreme metal, DARKEND developed a quite peculiar artistic style blending black metal patterns, ritual ambience, dark classic metal riffs and solos in the vein of Mercyful Fate/Angel Witch and a ritualistic,hypnotic vibe explicitly created in order to generate a deep sonic & Spiritual transcendence.Viaticum flows out from the Sacred Spaciousness beyond duality, enshrouding its Silent Nature with the voice of ancient ceremonial chants, dungeon synth ambience and sulphur riffs engraved on arcane metal patterns. Combining shades that span from Mercyful Fate to Dissection("An Incautious Exhumation Of What Lies Beneath Forgotten Ground")and from Dead Can Dance("In Your Multitude")to Arvo Pärt("In My Multitude"),the album enlightens an immersive and cathartic pathway towards the deepest hiddenfields of who we really are.
Ontario-based metalcore heavyweights, Counterparts, are back with the release of their new live album, Live In Toronto, out via Pure Noise Records. The band released the colossal A Eulogy For Those Still Here in 2022 (drawing praise from the likes of Stereogum, Revolver Magazine, BrooklynVegan, Exclaim, and more), and have been touring nearly nonstop ever since. Now Live In Toronto captures Counterparts at the peak of their powers in that live element. "We hit record and played a show," laughs vocalist Brendan Murphy. "When we did this, it was our biggest headline show to date and that combined with the fact that it was so close to home, we wanted to document it in a cool way. Kyle killed the mix too. Probably the best we’ve ever sounded.”
Hot off the heels of an active summer tour across the festival circuit, South London Samba present their debut EP "Tempo!". Across 5 tracks, band leader Adam Ouissellat drives a tight rhythmically focused sound, with influence from Brazil and across the African diaspora.
"We have been performing these tunes for a long time and it felt right to archive them when we came up to our 10 year anniversary (the band started in April 2013).
We recorded them at Midi Music Company which is where we have rehearsed and ran classes since the beginning! These tunes have stood the test of time and are loved by audiences wherever we play."
Recorded in Deptford in single takes without overdubs, and expertly engineered by Ahmad Dayes (brother to Yussef).Tempo!is a vignette of their live performances. It encapsulates the raw power of a drumming orchestra carefully disposed to drive a unique interpretation of samba rhythms.
Adam says"The idea was to capture the spirit of carnival whilst adding to the rhythmic culture of drumming ensembles. Each piece has melodies and motifs running throughout which makes it a listening experience as well as something anyone can groove to."
Tempo!collects global inspiration from the Caribbean, Dutch Brass bands and Latin America and represents a desire to grow their community, and to "push the genre into new territory".Having already supported the likes of the Black Eyes Peas, Disclosure and performed at the O2 arena and regulars at Notting Hill Carnival, SLS are cementing their prowess with a technical dexterity that is immediately profound.
Bomp Records of Burbank, California was likely the most significant American independent record label of the 1970s. In 1979 Voxx was founded as a subsidiary of Bomp as a specialty label for '60s-styled garage and psychedelic inspired music and was home to the debut album of the Pandoras. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals AND songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in 60's garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure 60's gems. The Pandoras unleashed their first recordings on the world in 1983 with the "I'm Here, I'm Gone" EP on Moxie records. It was a meaty slab of girls in the garage punk rock, and while maybe not as polished as subsequent efforts, it clearly showed off the talent of the band. Greg Shaw had been alerted to the band a few months earlier, and always one to know a good thing when he heard it, he quickly signed them. "It's About Time" saw the light of the day in 1984 on Voxx Records and became one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. It was pure garage gold! Today, 40 years after its original release date, we are thrilled to reissue this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes 3 bonus tracks and liner notes by Gravedigger V's John Hanrattie. "Paula Pierce refused to play it cute. On The Pandoras' debut album she out-snarled, out-screamed, out-fuzzed and out araged the male-dominated competition-like a well-aimed go-go boot to the jugular." - Mike Stax, Ugly Things Magazine "As good a '60s punk record as any contemporary combo is likely to make." - Trouser Press
Koyo has been praised for their rawness and authenticity, with the band offering a fresh take on the classic hardcore sound. With their passionate performances and dedication to the hardcore community, Koyo is poised to become one of the leading bands in the Long Island hardcore scene. This project also features guest spots from Vinnie Caruana (The Movielife), Daryl Palumbo (Glassjaw / Head Automatica), & Anthony DiDio (Vein. FM).
Incognito virtuoso Lambert, known for his playful personality, bold vision, stunning neo-classical compositions, and of course his ever-present horned Sardinian mask, is back with brand-new album Actually Good. Initially intended as the score for a gritty crime drama and debut film entitled ‘The Stranger’, which, due to reasons that will become clear with time, was swiftly curtailed, the now retitled soundtrack, Actually Good, is not only ready for release, but so is a remarkable mini-documentary about the making of this crime catastrophe. Featuring rolling piano arpeggios, sedate strings and staccato synths, Actually Good combines tension and elegance in equal measures for a truly cinematic experience.
The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a a sound of his own, that seems to stem from within and can be called deep house without the genre’s strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: Lost. Placed as a B2 it is the secret start of Direct Cuts II and more
prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: you and me, we can be like a whole universe! Hard to resist and even harder not to like if you have the slightest interest in Prelude records, Diana Ross songs or Tee Scott mix techniques. Basics, Vibes and Driver’s License push further into the world and musical mindset of Mute.
Originally released in 2006 as the the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can’t be wrong.
Due to popular demand "Live In London," the highly anticipated release from legendary British Reggae group Aswad is now in physical form! This album marks a new era for the band, their first feature release in over a decade, making it a poignant moment in their storied career. With the passing of the late great Angus "Drummie Zeb" Gaye, this album stands as a powerful tribute to his memory, indomitable spirit and will for the work to continue. Passionately produced by principal members Tony Gad and Soloman, recorded in the heart of London at the iconic Jazz Cafe, this electrifying album captures the essence of the British-born reggae movement at its finest. Mixed by Christian Cowlin of The Wailers and mastered by Mark Gittins at Sensound Studios, each track from "Babylon" to "Just A Little Herb" shines a beacon on the band's unparalleled musicianship and electrifying stage presence. Don't miss your chance to be part of reggae history and experience the power of Aswad like never before! Exclusively from SMC Records, a division of The Spaine Music Company.
The learning process is just as much an act of healing as betterment. The enabling of solutions through sheer willpower and openness to discovery, or a noble mission, never completed. In that spirit, the latest album by Berlin-based Slovak duo Päfgens – comprising Jana Drábeková Kočišová and Filip Drábek – represents a pensive development for the project.
Drifting from their lo-fi shoegaze beginnings, Päfgens drone-infused soundscapes have become increasingly immersive and expressive “framed improvisations,” where spontaneous passages are captured, then revisited with fresh layers upon layers over the course of months, breathing and evolving naturally, mirroring the unpredictability of nature. Songforms have all but melted away, with ethereal guitars and bass nestling up against field-recorded sounds, synth beds, percussion, and singing bowl tones.
The framed improvisation on ‘Aspect of What’ explores love and loss, relishing both the joy and melancholy of paying tribute to Filip’s late ethnologist grandmother, Božena Filová (1926-2020). Her voice opens track 2, ‘Particles’, speaking of the humble desire to “help the people in the rural environment”, and the goal of “uplifting people to better living through education”. The album’s emotionally charged approach to improvisation is suitably uplifting and seemingly made without ego, the couple melting away into the flitting wall of rustling drones and heavenly fuzz. Even at their most serrated (the groaning guitar amp squall underpinning ‘Journey’) or when surrounded by chiming bells, clocks and bowls (‘Around the Clock’), Päfgens is ready to listen, rest, learn, and improve, extracting and nurturing hidden abstract emotion in every piece, plundering something universal and teachable from very personal depths.
Montevideano: Luciano Supervielle and the Montevideo Philharmonic Orchestra" puts together a collection of pieces which, through a subtle accompaniment of electronic programming and synthesizers, generates a unique merge of orchestral music, Rio de la Plata music and new tendencies in electronic music and hip-hop. Montevideano could be considered a fundamental milestone in the career of Luciano Supervielle, who, together with the Philharmonic, managed to unite the worlds of classical music, hip hop and Montevidean roots with his compositions as never before. But more than a culmination, this album is at the same time the beginning of new paths and the continuation of the constant search for his own style.
"Even God Has A Sense Of Humor" is the long-awaited follow up album to Maxo's critically acclaimed 2019 release Lil Big Man. Across the 14-tracks, Even God Has A Sense Of Humor pays tribute to the mercurial nature of life and includes features from Liv.e, keiyaA, LastNameDavid, and Melanie Charles along with the previously released singles "Free!," produced by Dev Morrison and "48," produced by Madlib and featuring Pink Siifu. The FADER recently sat down with Maxo to discuss the album, which they described as having "a defiant glow, like a bronze statue still standing after an intense tornado."
Born Maxamillian Allen, Even God Has A Sense Of Humor finds Maxo earnest, full-hearted, and lyrically agile. His delivery punches as he poetically unpacks the trials and blessings that have marked the last three years since Lil Big Man, his stirring and meditative debut album. “Life is always gonna be life-ing,” Maxo says, speaking to the spiritual lessons that inspired this new project and an album process that has revealed to him the many ways in which he’s divinely protected.
The album’s striking cover features three casted sculptures of Maxo by legendary NYC-based artist artist John Ahearn, photographed by the rapper’s friend Steven Traylor. The image both preceded the music and set the tone for the record’s overall aura. Experiencing the casting process—which required long periods of stillness for form, and breathwork to avoid claustrophobia—became a metaphor about ego death for Maxo. “I had to go to a space where I was just not there,” he says. As the molding was poured over his body and the voices of those in the room became distant, Maxo’s inner world came into focus. “By the time it hardened, it seemed like the sculpture had risen to be 20 feet above where it was first— almost like it grew tall,” he explains. EGHASOH, in its aural ebbs and flows, honest questioning, profound revelations, and elegant verse, is Maxo standing spiritually tall following a period of challenges with family and friends.
Maxo’s writing process has always been rooted in imagery, observation, and capturing moments. Growing up in Southern California, Maxo spent a lot of time combing through old family photo albums, some of whose contents have become the artwork for prior releases. But his fascination with visual memento is less about nostalgia or remembering, and more about exploring concepts of growth, healing, and cycles. His artistry is intentional and deeply sensitive: “If I’m not feeling it, I’m not gonna record.” While his past records openly grappled with emotional turbulence, anger and depression, EGHASOH is Maxo’s acceptance stage: “I can't really judge nothing. I can't sit up and be mad at shit because everything is, everything is kind of coexisting,” he says.
Musically, EGHASOH is an impressive evolution from Maxo’s earlier, unornamented lo-fi projects. With an emphasis on jazzy instrumentalism and soothing, intricate vocals from both the artist and featured chanteueses Liv.e, Melanie Charles, and keiyaA, EGHASOH is a welcome and beautifully complex sonic effort. Its contributors include a range of musicians: Pink Siifu, LastNameDavid, Madlib, GrayMatter, Karriem Riggins, Beat Butcha, Lance Skiiiwalker, and more. The album was executive produced by Mount Kimbie’s Dom Maker.
“Nobody talks about the fact that we’re changing as we get older... Everybody just acts like you supposed to know,” Maxo says on album standout, “Face of Stone”. It's moody bassline meets a cinematic accordion melody that paradoxically both broods and uplifts—a fitting production choice that mirrors the song’s story. “I’m seeing how this world is chipping you and withering your bones,” Maxo says. “I’m talking about myself, talking about my bro. But it’s never nothing you gonna do that’s a one stop shop in this life. You gotta keep staying diligent and consistent.” For Maxo, Even God Has a Sense of Humor is nothing more than another moment on the timeline of his offerings of self-expression as an artist—one whose sole intention is to, in his words, develop as a human being and heal.
For fans of Mount Kimbie, Damon Albarn, Beach House, King Krule. London based singer-songwriter Rollo Doherty releases his debut EP on Lewis Recordings. Frontman for the indie guitar band ISLAND, his solo work is a radical departure from what fans would previously have known him for. As the title suggests, Rollo began this new DIY project from the tranquility of his own home and drew inspiration from the many small, subtle occurrences happening just on the other side of his bedroom window. 90’s Hip-Hop, Movie Soundtracks and Shoegaze are just a few of several influences explored across this diverse piece of work. ‘Out of My Window’ features some scratching from the infamous DJ Yoda as well as crossing the pond, landing in the hands of Brooklyn based duo The Still Brothers, who provided new life through their brilliant analogue production and arrangements alongside the expertise of producer Mike Hill (Arlo Parks, ISLAND) at Lemontree Studios, L.A. The circle became complete when by chance the LA mastering legends Becker Mastering (Doja Cat, Tyler The Creator, Harry Styles) happened upon the unreleased music when mixing engineer Mike visited their studio and asked to hear his latest work. The EP’s duration serves as a metaphor for a single day, as it spans over approximately the duration of 24 minutes, each representing an hour of the day. Ambient soundscapes are heard in-between each track, all moments captured at corresponding parts of the day on Rollo’s handheld microphone which he poises from his window.
Indies only 150 available. Lotus is led by the rhythmic prowess of percussionist Olaf Olsen (Fra Det Onde, Needlepoint). Olaf joins forces with electric bassist Chris Holm (Orions Belte, Sondre Lerches band) as well as Norwegian-based Danish alto saxophonist Signe Emmeluth. Finalising the line-up is electric guitarist Karl Bjorå, known for his unique sonic creations - such as making his guitar oscillate like a synthesizer! Pulling momentum from the individual members’ diverse backgrounds in psychedelic rock, pop, jazz and improvisational music, Lotus creates a sound that transcends genre boundaries."Synthbuljong," their debut album, brilliantly captures the band's vibrant energy. Recorded partially during one of their electrifying concerts in Bergen, Lotus intentionally incorporated the live experience seamlessly into the album. From the raw Coltrane-meets-Sonic Youth energy of the opening track to the serene and contemplative atmosphere of "Ballade", the album takes the listener on a trip. The collaborative synergy of the musicians blend seamlessly in the seventeen-minute opus, “Synthgitar," pushing the boundaries of sonic exploration. The group taps into a Scandinavian history of high-powered, multi-cultural free jazz, but goes off on their own contemporary tangent. This is the kind of music that demands surrender from the listener - just lean back and let the lush, organic sound of Lotus wash over you. Includes liner notes by Audun Vinger. File next to: Don Cherry, Sonny Sharrock, Chris Corsano, Chicago Underground Duo.
The vinyl is limited edition blue vinyl with a numbered certificate. This is the first coloured Evo vinyl. The Miners Son Film Soundtrack features self-penned material from Ettecon. 11 original Tracks, most of which has been written and composed by Ettecon Productions. A Nostalgic story of the hopes and dreams of a rock band in 1984. THE MINER’S SON depicts how a year of industrial action and violent unrest changed the face of a small tight knit community and their way of life forever. A bitterness that is still very much felt today. The film focuses on a bygone industrial past of a Kent town in Southeast England. Some of the characters are based on real people and true events from the day. The findings for this story are factual and sourced from friends and family who lived through this turbulent time. This story evolved from the memories of Kevin Short, co-writer & producer of The Miner’s Son. Kevin, a miner’s son himself was a guitarist in many local rock bands who struggled to achieve recognition. Despite this, he recalls the era as a fun and carefree time. A world away from how people see life today.
OVERVIEW KEEP OF KALESSIN - KATHARSIS is set to be released in March 2023! via Morningstar Music & Back On Black Records, Distributed by PlasticHead Distribution. KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!
KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!
"My Lover The Killer" is the latest collaboration between Lydia Lunch and Marc Hurtado. They first worked together on the 'Sexodrone' track of the Etant Donnés's album "Re-Up" in 1999. Featuring Terry Edwards (Gallon Drunk), Ian White (Gallon Drunk), Mark Cunningham, We Are Birds of Paradise, David Lackner. "My Lover The Killer" is a collaborative project with Marc Hurtado. What began as a loose musical concept in the summer of 2012 became a prophecy written in blood by November of the same year. "My Lover The Killer" is a late night noir confessional. Sinister, sexy and mysterious, the music slithers, erupts and caresses the seductive vocals as they relay twisted tales rife with innuendo, promises and threats. The text is based on the murder/suicide of an ex-lover whom I had recently contacted for the first time in over a decade. Caught in the early fall hurricane which leveled the East Coast of America while enroute to Los Angeles, I had sent an invitation proposing that we meet for drinks. Two days later, during a alcohol fueled fight with his girlfriend about whether or not he should come to see me, he shot and killed her, called the police, turned the gun on himself, and died the next day on his 55th birthday. A tragic event, which "My Lover The Killer" attempts to make sense of. Each song is a rumination on the frightening effects of a mad love spun out of control and the haunting remnants of a lover who still stalks from beyond the grave.
Few bands have as enduring a legacy in the acoustic/newgrass/jam band
scene as Colorado-based Leftover Salmon
Carrying the torch passed down by the progressive bluegrass pioneers, The
Seldom Scene and Newgrass Revival, Leftover Salmon are true architects of the
contemporary jam grass scene, inspiring the careers of a generation of artists
ncluding Billy Strings, Greensky Bluegrass and Yonder Mountain String Band.
On 'Grass Roots', Leftover Salmon reflect on its bluegrass and festival
campground origins with a set of songs that draws from the repertoires that The
Salmon Heads and The Left Hand String Band played when they first jammed in a
Telluride Bluegrass Festival campground. Collaborating with jam scene icons
Billy Strings, Oliver Wood, and Darol Anger, and with the recent addition of Jay
Starling on resophonic guitar, lap steel and keys to the band's official line, Leftover
Salmon have all the instrumental firepower needed to deliver hard driving
versions of bluegrass standards and grassed- up versions of songs from Bob
Dylan, David Bromberg, and The Grateful Dead. Now available on Limited Edition
Banana Yellow Vinyl
Now available on Limited Edition Banana Yellow Vinyl
Throughout over three decades in music, Steve Poltz has done it all and
more -- he co-wrote Jewel's Hot 100-topping megahit "You Were Meant
For Me," fronted '90s underground legends The Rugburns and has built a
huge cult following for his solo tours
A gonzo entertainer, storyteller and prolific collaborator (Billy Strings, Molly Tuttle,
to name just two), Poltz, now in Nashville, enlisted members of The Wood
Brothers for STARDUST AND SATELLITES . It's an album dealing with loss (he's
lost both parent's in the past two years), simple joys and childhood memories --
summer baseball games, a stint he did with Up With People, and more. This could
be his best yet! Now available in LIMITED EDITION COKE-BOTTLE COSMIC SWIRL
VINYL
Produced by Oliver Wood and Jano Rix of The Wood Brothers.
LIMITED EDITION COKE-BOTTLE COSMIC SWIRL VINYL
The EP lands hot on the heels of her relocating to London after selling out three
Australian headline shows in Melbourne, Sydney & Brisbane and a packed out
summer of touring across the UK/ EU festival circuit. The multi- hyphenate has
been releasing left- leaning house & techno over the last few years which has
been causing a stir on dancefloors worldwide alongside playing dozens of
festivals across the UK, Europe & Australia (Glastonbury, Lost Village, AVA,
Parklife, Gottwood & more) With DJ support from Bonobo, Fred Again.., Barry
Can't Swim, George Fitzgerald, Romy (from The xx), Confidence Man alongside
international media support from Resident Advisor, Mixmag, BBC Radio 1, DJ
Mag, Triple J, Dazed & more.
Enveloping the space between all-out bangers and bittersweet love songs, Pretty
Girl's new EP is a six- track missive that demonstrates her ability to balance
romantic mood pieces with euphoric club moments. Glittering vocals, high-energy
drums and masterful production provide the musical backdrop for the new EP,
which is laced with symbols of transformation and personal development.
THE SINISTER DEBUT ALBUM OF PURE NORWEGIAN BLACK METAL
FEELING,FEATURING MEMBERS OF AURA NOIR, OBLITERATION &
CONDOR."Underground metal the way it should sound returns to
Kolbotn!" - Fenriz (Darkthrone)From the depths of Norway looms a new
rising beast of hate & misanthropy in the form of Avmakt
Featuring the duo of Kristian Valbo & Christoffer Brathen - known for their work
with such acts as Aura Noir, Obliteration & Condor - their debut album, 'The
Satanic Inversion of....', is a grim & revelatory offering. Primitive in a way that
captures the early magic of Kolbotn's metal kings, Darkthrone, as well as the stark
chaos of early-era Bathory along with their very own distinguishable stamp on the
genre, 'The Satanic Inversion of....' is a masterclass of real Black Metal feeling,
wrapped up in a hypnotic frenzy of ice-cold riffing.
Though both members had played in bands covering different genres since their
early teenage years, Black Metal had always been one of the most important as a
vehicle for an honesty & fierceness that resonated deeply within the duo, without
the need for extravagant clothing or pretentious concepts. And so Avmakt itself
was born as the vessel for channelling this stripped-down raw feeling.
Formed in 2020 & with their one & only demo release gaining traction in the
underground, the Norwegians quickly came to the attention of Darkthrone's Fenriz
& Peaceville Records & Avmakt was swiftly included on Peaceville's Black Metal
Compilation, 'Dark Side Of The Sacred Star' which launched at the end of 2022.
Avmakt itself means "powerlessness", the sense of being overwhelmed & not
able to have any influence - without choice, voice, or hope. And so, it is from far
down in this psychological abyss that Avmakt's ideas & expressions manifest
with the completion of their debut studio release; 6 sprawling epic tracks
recorded with the assistance of Arild Torp, also of Obliteration & encapsulating
such themes as emptiness, desolation & alienation in a powerful display of
sinister, uninhibited Black Metal.
2024 REPRESS
Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.
Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.
And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."
Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.
It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.
After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.
"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.
Betty Boo is a Hip Hop pioneer and 90's icon, as well as a a multiplatinum selling, Brit- and Ivor Novello- Award-winning singer, songwriter,
and producer from West London
After a chance meeting in McDonalds on Shepherd's Bush Green, she ended up
supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers.
In 1989, she featured as guest vocalist on The Beatmasters' Top 10 single - Hey
DJ/I Can't Dance (To That Music You're Playing).
Her first solo single - Doin' The Do - was released the following year and
announced Betty Boo as a phenomenon in her own right. Betty Boo released two
albums - Boomania and GRRR! It's Betty Boo - and then mostly retired from the
public eye. 2022 saw the unexpected return of Betty Boo with her incredible
album Boomerang.
Betty Boo now returns with a new project, 'Rip Up The Rulebook'. "I loved making
Boomerang so much that I kept writing. I'm very proud of these songs and grateful
to be back creating music full time. The album title Rip Up The Rulebook is my
response to stereo- typical ideas about what women should be doing in their fifties.
I have never had so much fun making music (with my friends Andy Wright and Gavin
Goldberg). Long may it continue".
Live dates for 2024 to be announced. Upcoming performance at London's
Islington Assembly Hall on June 15th.
Black Vinyl[23,32 €]
“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.
On 'Leaving Me', the debut album by British singer and songwriter Denver
Cuss, she has crafted a wonderfully nostalgic album in the style of '60s
soul and rhythm and blues
Denver first gained recognition as an accompanist and background singer for PM
Warson, who produced this album. She and her co-writer Kit Warren began writing
this album in early 2022, recording it gradually over the next 18 months. They
utilised several studios across London to capture the best of each element: The
Cube in Stoke Newington for the drum sound, Hackney Road Studios for lead
vocals, and Sam Beer's studio in Acton for Hammond, Wurlitzer, and background
vocals. This album was a labour of love, involving over 12 musicians with
incredible talent.
Inspired by the doo-wop and Chicago soul pioneers The Impressions, the vocal
styles of Sarah Vaughan and Aretha Franklin, and the echoing, modern R&B
sounds of Thee Sacred Souls and The Altons, Denver's debut album has a clear
thematic thread. It effortlessly navigates the world of '60s- style background
vocals and R&B horn arrangements, carefully curated by Denver. With her
background in jazz and her arrangement style firmly rooted in the world of soul
and R&B, you can clearly hear her influences, supported by some of London's
finest musicians.
Marble Vinyl[40,13 €]
Clear Vinyl[35,50 €]
The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in
Two classically trained musicians from vastly different traditions, MD Pallavi and Andi Otto came together to create a jewel of a record in ’Songs for Broken Ships’ and Multi Culti have whipped up a stunning remix package for it featuring Simone de Kunovich, Auntie Flo, Peter Power, Kaleema and more.
Hailing from Bangalore, trained in Hindustani music and poetry since childhood, MD Pallavi’s beautiful voice makes an elegant companion to cellist / composer / producer Andi Otto’s idiosyncratic and unconventional style. Andi’s music has featured on labels such as Shika Shika and Pingipung (which he co-runs and curates) and, of course, Multi Culti, who released his previous album ‘Bow Wave’ which featured his first collaboration with Pallavi.
While the heart of "Songs for Broken Ships" showcased the duo's unique meld of cross-cultural folktronica and acoustic ballads with MD Pallavi's poetic Kannada verses at the core, "Remixes from the Clouds” reframes these elements for a vast spectrum of electronic listeners and club go-ers.
An ethereal hypnotic techno re-interpretation of ‘Prayer to the Cloud’ from Italian producer Simone de Kunovich. Scottish ambient maestro and mushroom aficionado Auntie Flo's ecstatic reinterpretation of "Clockshop". Multi Culti veteran downtempo wizard Peter Power's organic and earthy rendition of "Prayer to the Cloud." The mystic sounds of Kaleema breathing new percussive life into "Clockshop". The package concludes with a 'prayer-a-pella' version of "Prayer to the Clouds", spotlighting MD Pallavi's vocals in their purest form, for DJs and producers seeking to slather their rhythms with spiritual voice.
The Multi Culti imaginarium also present an expanded digital package that includes mixes from Hannah Lee, Bliz Nochi & Emil Jourjou, Migramara, and Poligra. In the words of Shawn Christopher: "people from all nations, dancing together." Celestial harmony, one 12” at a time.
Dive into Sreya & Cilon"s first LP, "Atençao com Coraçao." With bossa nova tunes, this project delivers caring and beautiful messages about self-realization and living in the present moment. "Atençao com Coraçao" is more than an album; it"s a journey into self-discovery and moments of contemplation. The lyrics, elegantly simple yet profound, convey direct ideas while weaving narratives from everyday life. The songs resonate with the theme of realizing one"s potential on life"s odyssey.
As a true Brazilian music aficionado, Skinshape was naturally captivated by Pedro Mizutani's charm. So, when Pedro visited Europe in the summer of 2023, Skinshape invited him to its London studio. Together, magic effortlessly unfolded.
Pedro sets the rhythm, while Skinshape sets the grain. With Skinshape weaving in basslines and other arrangements around Mizutani's mesmerizing guitar playing, the collaboration was a breeze. The two musicians understood each other in the blink of an eye.
Together, they crafted a true homage to bossa nova. Without overshadowing Mizutani's style, Skinshape brought out his full musicality. It was a seamless symbiosis. The duo created a one-of-a-kind work. In the spirit of the Afrobeats movement, one could even describe it as "bossa-pop," maintaining the essence of the genre while incorporating British aesthetic elements under Skinshape's discerning ear. A sprinkling of shimmering bells here, kicks dipped in reverb there, and jazzy basslines for that extra touch of groove. As for Pedro Mizutani, he excelled in delicacy as always and did not lose altitude, soaring to even greater heights.
There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.
There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.
We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".
The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.
Also available on Red Vinyl - Limited Edition of 200 Copies.
Urbanatribù was an extremely interesting project based in Alessandria, deep North-Italian province. Formed by bassist Flavio Gemma and cyber wizard Massimiliano Bocchio, the outfit had a distinctive way to interpretate electronic and dance music.
Gemma founded some key Italian 80's wave groups like Viridanse and C.O.D.E.X. with some late digressions in the punk scene with Peggio Punx. Bocchio had its debut on the seminal imprint Minus Habens Records in 1994 under the moniker Klange, reflecting the unique and radical sound of the label.
Inspired by John Carpenter movies, rough basslines and british ghost stories, Urbanatribù records camed out against any order.
Das Erlebnis, Mutter zu werden, prägte LIFE, die neue farb- und kontrastreiche Aufnahme der norwegischen
Geigerin. Samuelsen ist bekannt für ihre fantasievolle Programmgestaltung. Hier reflektiert sie musikalisch
in virtuosen Interpretationen über die unterschiedlichen Gefühle, die mit Elternschaft einhergehen können. Das Album präsentiert Musik von Olivia Belli, Bryce Dessner, Ludovico Einaudi, Nils Frahm, Jóhann
Jóhannsson, Mário Laginha, Hania Rani, Max Richter sowie Steve Reich, und auch Schubert findet sich
im Mix. Samuelsen wird auf dem Album von Musikerkollegen begleitet, darunter die Streicher von Scoring
Berlin unter der Leitung von Jonathan Stockhammer.
Die Idee zu LIFE kam Samuelsen nach der Geburt ihres ersten Kindes. Als sie mit ihrem zweiten Kind
schwanger wurde, nahm der Gedanke Gestalt an. Die Magie ihres leidenschaftlichen Spiels verbindet die
elf Titel, die junge Eltern ebenso ansprechen wie Menschen, die sich an die eigene Kindheit erinnern. »Ich
mache Musik, weil ich Geschichten erzählen will«, sagt Samuelsen. »Zwar sind es persönliche Geschichten,
aber ich möchte, dass sich so viele Menschen wie möglich darin wiederfinden.«
Pink Rhythm was one of John Rocca"s mid-80"s solo side projects and a somewhat evolution of his pioneering early-80s band, Freeez. After Freeez ended, John still had some ideas left over which he explored with Andy Stennett of Freeez. John also re-worked one of the final jazz funk songs written (but unused) by Freeez called "India". He named the project Pink Rhythm after his self-funded, entrepreneurial record label that he used to launch Freeez. Pink Rhythm lasted a brief year or two, between 1984 and 1985. In 1985, three singles were released, including "Melodies Of Love, which has become a cult favorite. It has been described as "timeless drum-machine soul music" and a "cult funk slow jam". Over the years, John Rocca"s music has been sampled by many, including Jamie xx, Empress Of, Brandy, Burial, Todd Terry, Coolio, Cut Chemist and more. Often credited as one of the pioneers of brit-funk, John"s music is iconic and has been used in TV/Movies like; Better Call Saul, Midsommar, Irma Vep plus the fashion world for brands including Calvin Klein, Louis Vuitton and more. "Melodies of Love" - though never a pop hit - was recently been used the Joaquin Phoenix film Beau is Afraid as well as in the acclaimed British Film Blue Jean. It was also recently featured in a high-end ad campaign for Piaget. It is pure, smooth 80s drum machines, it is synth sounds, saxophones and keyboards.... it"s retro, but it could also be current. Either way, it"s as refreshing now as it was then.
Recorded in the mid-80s, a decade after the first advent of UK lovers rock and tailor-made for bass-heavy sound system playback, Christine Lewin’s cover of Tyrone Davis’s ‘In The Mood’ transformed his sensual after-hours classic into a female-led hit that became a staple on Lovers playlists both then and now. Similarly, Tricia Dean’s cover of Jean Carn’s soul favourite ‘Don’t Let It Go To Your Head’ follows the same formula from producers Kpiaye and Smokey, synth-led rhythms reflecting the times rooted firmly in a local London scene. Marvin James's under the radar vocal cover of The Spinners' 'I'll Be Around' gets a reissue on vinyl for the first time backed up by the sought-after Kpiaye instrumental mix aka 'Dub mix by Surgeon McEdit'.
Crystal clear vinyl, limited to 200 copies. HEBI KATANA's 3rd full album, known as "Tokyo Samurai Doom"! The classic doom riff and mellow and dark melody reminiscent of THE OBSESSED and TROUBLE have become a hot topic mainly overseas. Both works have been released on CD/LP/cassette by domestic and international labels. Their dark yet melodious doom sound attracted attention, especially among doom/stoner enthusiasts around the world. This work, which is the third album, maintains the classic doom/hard rock sound that has been created up to now, but it also has a strong jam feeling honed through expeditions including overseas tours, and the band ensemble is truly impressive. It is a work of art. Coupled with member changes, the content gives a sense of significant growth and progress. In addition, the songs created through collaboration with seasoned live acts have a more vivid finish. Through songwriting that involves everyone's participation, each band's colors and characters are strongly reflected, and it can be said that the band is exploring a unique sound based on the doom/stoner sound. "Hallelujah Anyway" is a straightforward attack with a classic heavy riff and mellow chorus, "Depressed Blues" is a combination of a mid-tempo heavy riff and dark vocals In the second half, "Darkest Priest" develops into a more doomy shuffle boogie, and "Lost" drifts from a dark arpeggio-driven melody to a heavy and sinking development, and the songs included are rich and fulfilling. The yellowtail is something to behold. The rapid advance of "Tokyo Samurai Doom" begins now!
Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.
Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.
Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’
Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.
Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.
Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year.
Color Vinyl[35,71 €]
The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.
Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.
Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.
Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.
Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.
Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."
Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.
Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.
Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.
The yellow transparent vinyl reissue of Damian Wilson's 2016 album 'Built
for Fighting', featuring the BBC playlisted single 'Thrill Me'
Built for Fighting contains 11 original songs and a cover of Depeche Mode's
Somebody'. The album is mixed and mastered in Sweden by the Fascination
Street duo Jens Bogren and Tony Lindgren.
DJ Support: Derrick Carter, Mark Farina
Whiskey Disco #74 follows up Michael The Lion’s stellar single with a return to classic Whiskey Disco form; a mix of somewhat recognizable samples tweaked for the floor or the poolside.
Summer is in full swing and so are the artists on the latest Whiskey Disco ode to summer parties. The A side showcases a long lost gem from Cole Medina that never quite saw the light of day. It’s a longtime honour to be able to put this song on the label and we can’t wait to have a loud 45 side in our hands to drop at the choicest of rooftop parties, poolside, beachside, or to break the tension after a dirty underground session. On the flip, we see Love Athletics breaking out with All of My Love, a cheeky vocal sample underpinned by a rocking bass groove and high hats that are more than a nod to Sex Shooter. The flanged groove will be perfect for day or night tie parties. Closing out, label boss, Sleazy McQueen provides an all analog cut up with palpitating drums and hypnotic grooves, with a nice surprise to break things up a bit.
You're about to witness the return of Seahorse to BCSM. After he set the start for BCSM Records back in 2018 with the legendary BCSM001, we're more than happy to welcome back the Munich based producer with a brand new 12" vinyl release.
It can't get deeper than on this one. The Black Hole EP comes with four new productions ready for the soundsystem. Expect a overwhelming mixture of contemporary steppers dub, original dubstep niceness and outerworldly bass works. Imagine yourself getting caught in a blackhole and enter a different dimension full of wobbling bass and auditory deepness. This is the sound that makes walls fall into pieces.
Seahorse developed his production style over the last years to the max, so get ready to fulljoy this heavy bass shower.
For the extra portion sub, LXC lifted the frequencies again.
2024 Reissue
Fracture & Neptune reissue two classics from the Astrophonica catalog on a new 12”. Clissold and The Limit shine a spotlight on the early days of their musical journey in the mid 2000s.
While there are other tracks that could and may get reissued, the pivotal nature of these two and the ongoing demand for represses made them the perfect place to start. Reissuing them not only honours their impact on our careers and Astrophonica's evolution but provides the opportunity to have them remastered on vinyl by Beau Thomas at Ten Eight Seven and on digital by Bob Macciochi at Subvert Central Mastering for a modern take in 2024.
4-channel rotary mixer with 3-band frequency isolator and filter section for DJs
OMNITRONIC TRM-422: THE ROTARY MIXER ON A NEW LEVEL
The desired child
Omnitronic's popular TRM series has been expanded: the TRM-422 combines all the proven features of the previous models, but additionally offers functions that numerous fans had wished for. During the development of the mixer, the focus was on the demands and suggestions of the community.
FULL CONTROL
Each of the 4 input channels has 2 line inputs, one of which can become a phono input at the touch of a button. The channels are each equipped with a volume as well as a gain control. In addition to the master isolator (bass, mid & high), the DJ has the option to activate a filter with HPF, BPF, LPF, resonance and sweep controls in each of the 4 input channels.
The master output is available to the DJ in both XLR and RCA versions.
EFFECT WAYS
The use of external effect devices is possible through an FX-In and FX-Out via 6.3 mm jack. The mixer's master insert is also equipped with a send & return (unbalanced) path. This allows additional external effects to be looped into the mixer.
DVS INTEGRATION
The mixer's timecode outputs allow easy integration of a DVS system (Digital Vinyl System) such as Traktor or Serato.
MONITOR SECTION
The booth output of the TRM-422 is provided with one XLR and one RCA connector. The signal of the booth output can be easily adjusted to the conditions in the DJ booth with the help of an EQ (High & Low).
MICROPHONE INPUTS
The TRM-422 offers 2 microphone inputs. The first mic input gives the DJ the ability to modify the mic signal with EQ (high & low).
BACKUP SOURCE
With the help of the AUX input on the front panel, players such as smartphones, tablets or MP3 players can easily be connected via mini-jack (3.5 mm) and thus serve as a backup solution.
ACTIVATABLE CROSSFADER
If you don't want to do without a crossfader during your DJ set, you have the option to assign each of the 4 channels to the integrated crossfader. If the crossfader is not used, it can easily be switched off.
SET RECORDING
The RCA record-out makes it easy to record your own DJ set.
FEATURES
4-channel rotary mixer with 3-band frequency isolator and filter section for DJs
3-band master frequency isolator with vintage ALPS potentiometers (Blue Velvet RK27)
Kill cut feature allows DJs to completely remove low, mid and high frequencies for amazing mixing
Filter section with HPF, BPF, LPF, resonance and sweep control for creative sound shaping
4 stereo input channels with gain control, clip LED, 3-way equalizer and phono/line switching
2 microphone input channels with gain control, 2-way equalizer on air switch
High-grade components ensure long life and excellent sound quality
16-digit stereo LED level meter, switchable between master and booth outputs
Booth output with separate 2-way equalizer and level control
PFL section with 16-digit stereo LED level meter, level control, PFL/master mix control and cue mix/split option
Fully assignable VCA crossfader with adjustable curve
2 effects send/return paths
4 direct outputs for Timecode applications
Inputs: 8 x line and 4 x phono (RCA L/R), 1 x front aux (mini jack)
Outputs: master and booth (XLR/RCA L/R), record (RCA L/R), master insert send/return (RCA L/R), FX in/out (stereo jack)
483 mm rack installation possible with supplied mounting brackets
Desktop console housing
TECHNICAL SPECIFICATIONS
Power supply: 100-240 V AC, 50/60 Hz
Power consumption: 24 W
Protection class: Class I
Power connection: Mains input IEC connector (M) mounting version Power supply cord with safety plug (provided)
Frequency range: Microphone 20 - 20000 Hz
Line 20 - 20000 Hz
Phono 40 - 18000 Hz
S/N ratio: >97,2 dB line
>91,7 dB Microphone
THD: Line -68 dB
Control elements: Power switch, source selector, Crossfader, Crossfader selector switch, Crossfade curve switch; Cue mix split function, EQ controls
Status LED: Power, master level meter, clip, CUE
Connections: Input: 4 x line via stereo RCA
Input: 4 x line/phono via stereo RCA
Input: 2 x Microphone via 3-pin XLR
Output: 1 x headphones via 6.3 mm jack socket (stereo) mounting version
Output: 1 x headphones via 3.5 mm jack (stereo) mounting version
Output: 1 x rec. via stereo RCA
Output: 2 x booth via 3-pin XLR
Output: 1 x booth via stereo RCA
Output: 2 x master via 3-pin XLR
Output: 1 x master via stereo RCA
Output: 1 x AUX sends via 6.3 mm jack socket (stereo) mounting version
Output: 1 x AUX returns via 6.3 mm jack socket (stereo) mounting version
Chanals: Input chanel: 4 x stereo with Line-Line/Phono switch via RCA, channel control via Rotary, 3-band tone control EQ, source selector, gain control, CUE switch, FX routing switch, Crossfader selector switch,
Microphon chanal: 2 x mono via XLR, channel control via Rotary dial, ON AIR switch,
Master output: 2 x stereo via XLR, channel control via Rotary
Booth output: 2 x stereo via XLR, channel control via Rotary
Rec. output: 1 x stereo via RCA
Headphones output: 1 x stereo via Plug 6,3mm/3,5mm (Jack), channel control via Rotary dial, Cue mix split function,
Max. level: Output: +18 dBu
Material: Metal
Housing design: Desktop console housing
Dimensions: Width: 41 cm
Depth: 28,5 cm
Height: 10,5 cm
Weight: 5,74 kg
Legend is the second posthumous album from revered Dallas rapper, singer & songwriter, MO3, and follow up to the 2021 posthumous release, Shottaz 4Eva, which peaked at #36 on the Billboard 200. Dropping on what would have been his 32nd birthday, Legend features previously unheard music from MO3 himself, and sees appearances by Tye Harris, BigXthaPlug, That Mexican OT, Money Man, Fredo Bang, Ralo, NoCap & Tory Lanez. The 14 track album includes the previously released singles “AR (Feat. BigXthaPlug & That Mexican OT),” “Blood Money (Feat. Finesse2Tymes),” “Tidal Wave,” & “They Don't Know (Feat. Tory Lanez).” While the loss of MO3 is still being felt, fans continue to celebrate his life and honor his legacy by keeping his music alive. MO3 will forever be a Legend.
The weather might never be hot in the UK but the 7th release from Regulate Recordings is an absolute scorcher! Coming hot on the heels of the “The Rhythm / Make Em Bounce” going to the top of the Juno charts and doing serious dance floor damage the North West imprint have gone even bigger for the next release with a daisy age inspired transatlantic cross over.
Manchester producer Atomphunk has teamed up with Seattle Duo Mugs and Pockets with turntablist extraordinaire DJ Deviant on the cuts. The results are without doubt the jams of the summer, which is handy because the A side is called “Summer Jam”. With a popping funk bass line and rhymes dancing over the top that immediately evoke the spirit of the Native Tongues, but added into the mix is that Grand Central / Fat City groove and the West Coast USA bounce of Jurassic 5 and their collaborators, (Chali2Na is a big supporter of Mugs & Pockets). In a packed field “Summer Jam” might just be Regulate’s biggest release yet.
Things don’t let up on the flip “Back For More” sees Atomphunk go for the hotter stickier side of the season, with a more laid back synth driven groove evoking Roy Ayers and Quincy Jones, but with crisp beats and Mugs and Pockets bringing it once more. Don’t sleep on this one.
Designed for dedictated 45 vinyl-DJs, the all-new MAGMA 45 SANDWICH offers a remarkably sleek and lightweight innovation for carrying your 7“ records.
Constructed with a fully molded, shock-absorbing EVA shell, this case ensures superior protection and a secure fit for up to 150 7“ records.
The unique 50/50 "Sandwich" style enables the lid to serve as a second storage section, making organizing and flipping through your 45s more convenient. Tailored for seasoned 45 collectors on the move, the 45 SANDWICH seamlessly combines style and functionality, ensuring a solid and efficient travel companion for your musical treasures.
- fits: 120-150 x 7“ records
- Compact and lightweight design
- Crafted from 8 mm thick and rigid Durashock molded EVA foam and water rejecting 1680D Polyester exterior shell
- Molded interior for additional protection
- 50/50 Sandwich style enables the lid to serve as a second storage section
-Sturdy zipper
- Embossed molded feet
- Including shoulder strap (with metal hook)
- Including trolley sling
Outer dimensions (H/B/T):
38 x 22 x 24 cm
Inner dimensions:
33 x 19,5 x 20 cm
Weight:
1,1 kg
Color: black/misty magenta
DE:
Maßgeschneidert für ambitionierte 45-DJs, bietet das brandneue MAGMA 45 SANDWICH eine stylische und innovative Lösung, um deine 7-Inch Singles sicher zum nächsten Gig zu transportieren.
Durch seine robuste, stoßdämpfende Hülle aus geformtem EVA-Hartschaum gewährleistet dieses Case optimalen Schutz und festen Halt für bis zu 150 7“-Singles.
Der praktische 50/50 "Sandwich"-Style erlaubt es, den Deckel als zusätzliches Fach zu nutzen, was das Sortieren und Durchblättern deiner 45s noch komfortabler macht.
Das 45 SANDWICH vereint mühelos Style und Funktionalität, und wird so zu einem robusten und effizienten Reisebegleiter für deine musikalischen Schätze
- fits: 120-150 x 7“ Vinyl-Singles
- 8 mm EVA-Durashock-Hartschaum und wasserabweisendes 1680D D Polyesteraußenmaterial
- EVA-geformtes Innenleben für zusätzlichen Schutz
- Robuster Reißverschluss
- 50/50 Sandwich Style ermöglicht es, den Deckel als zusätzliche Ablage zu nutzen
- Komfortable Trageschlaufen und abnehmbarer Schultergurt (mit Metallverschluss)
- Trolley-Schlaufe
- Including shoulder strap (with metal hook)
- Including trolley sling
Aussenmaße (H/B/T):
38 x 22 x 24 cm
Innenmaße:
33 x 19,5 x 20 cm
Gewicht:
1,1 kg
Farbe: black/misty magenta
Get a taste of everybody's favourite terrestrial with something extra, Jimi Tenor and his fresh brand of galactic balladry with two single versions from his upcoming album on Timmion Records, "Is There Love In Outer Space?". On the A-side, the title track effortlessly merges cosmic synth flourishes with a soulful backbeat, Jimi's smooth vocal and flute stylings, delivering a splendid questioning continuum to Sun Ra's similarly named statement. Flipping to the B-side, the mostly instrumental "Orbiting Telesto" launches us to the outer rings of Saturn with a healthy helping of vintage sci-fi movie soundtrack and library music themes. Accompanied by the down and dirty energy of Cold Diamond & Mink, Jimi's seasoned artistry shines through, showcasing his ability to blend celestial sounds with gritty moondust funk. With these two tracks, Tenor teases our appetite for the two cosmically themed albums in the pipeline for 2024. These songs crafted together with the Timmion crew serve as a testament to Jimi's unique ability to create captivating moods that transcend the usual.
Konerytmi's upcoming release is a captivating blend of retro charm and futuristic allure. Each track resonates with the spirit of the 80s, where the pulsating rhythms of old-school drum machines intertwine with the evocative tones of vintage synthesizers.
Drawing inspiration from the hooks and melodies that defined a generation, Konerytmi skillfully weaves a tapestry of sound that is both timeless and contemporary. These tracks are not just made for dancefloors, they are crafted to evoke emotions and stir memories, inviting listeners into a realm where past and present converge seamlessly.
We are excited to announce the first release of the revamped Italo Deviance Music: "Arredo" (alias of Marcello Giordani). This record includes two outstanding tracks, each with its own unique character. The first track, "Fear Fighter," stands out for its hypnotic Afro/House direction, enriched with synthesizer sounds that capture the imagination and transport the listener to an evocative sonic dimension. The remix of "Fear Fighter" is entrusted to the ren owned Danish artist Kasper Björke, who offers an elegant and refined version, perfectly in line with his distinctive style. The second track, "Blue Spotlight," evokes the classic mid - 80s Dance Library sound, presented in an extended version with Italo nua nces. The remix of this track is curated by Cosmo Dance, transforming it into an extraordinary electronic track inspired by early 80s Italian Disco productions. "Arredo " represents a perfect fusion of nostalgia and modernity, celebrating the past while innovating the present. With sophisticated remixes by Kasper Björke and Cosmo Dance, this release promises to captivate both veterans of the genre and new electronic music enthusiasts. Don't miss the chance to immerse yourself in this unique musical journey.
Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.
Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE
Neil Feather has spent decades creating a musical world of his own through dozens of one-of-a-kind instruments he invented and built himself. His work as an instrument inventor, improviser, musical iconoclast, and stalwart of the idiosyncratic Baltimore experimental scene culminated in the late 2010s when filmmaker Skizz Cyzyk shot hours of footage of Feather taking stock of his workshop and his collaborations with musicians from Baltimore and beyond as he prepared to relocate permanently to New Zealand. That period produced Sound Mechanic, Skizz’s 2022 feature-length documentary about Feather’s work and music. It also produced an album-length collection of recordings of Feather’s music from the film that captures the spectrum of his unique sonic vision. Uninterested in the traditional rules and roles of music from his early years, Feather began constructing noisemakers out of what was around him—pieces of metal, spare parts from bikes and other gadgets, discarded traditional instruments, various electronics, ball bearings, and so on. By the time he moved to Baltimore in 1985, his work had become more codified into a practice of instruments and families of instruments, such as the Nondo, the Vibrawheel, and the Former Guitars. At the same time, he became a mainstay of the burgeoning experimental / improvised music scene that erupted from the Red Room and the internationally renowned High Zero Festival.
2024 Repress
The Curtis Electronix saga follows up with new material from its head and curator CEM3340. Despite keeping its roots firmly into the deepest depths of electro, Future Tribe EP moves slightly away from his usual purism and across the four tracks manages to strike a careful balance between beauty and austerity, harmonizing elegance and restraint with the booming energy of techno and funk.
The Universe evolution led to the emergence of life and we can only guess what forms of it can exist in the depths of Space. Maybe in the future a Moonrover will be launched to other planets and satellites. And this is only a small part of the huge research capacity of humankind. Using this capacity to the full we hope to find answers to the questions on the origin and existence of life.
"A CAREFULLY CURATED COMPILATION TO CELEBRATE THE SOFTER SIDE OF HARD ROCK
This compilation is a celebration for the softer side of Rock music… the epic piano ballad! A carefully-curated treasure trove of hard rock gems that guarantee goosebumps and compel the listener to thrust their lighter in the air and singalong. Featuring a star-studded cast from the UK Rock scene including Those Damn Crows, Kris Barras Band, Scarlet Rebels & The Karma Effect. This is a must have collectible for any fan of these artists featuring exclusive bonus tracks and rarities."
Reissue von"Take A Picture", Margo Guryans einzigartigem Klassiker - das unerwartete Meisterwerk in jeder Schallplattensammlung. Hell, luftig, leicht psychedelisch und absolut kosmopolitisch, aufgenommen 1968 in New York City. Neu restauriert von Jessica Thompson von den originalen Zwei-Spur-Masterbändern. 1968er Pop Tour-de-Force hat nie besser geklungen.
Reissue von"Take A Picture", Margo Guryans einzigartigem Klassiker - das unerwartete Meisterwerk in jeder Schallplattensammlung. Hell, luftig, leicht psychedelisch und absolut kosmopolitisch, aufgenommen 1968 in New York City. Neu restauriert von Jessica Thompson von den originalen Zwei-Spur-Masterbändern. 1968er Pop Tour-de-Force hat nie besser geklungen.
With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.
Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.
"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."
The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.
At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.
"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
American Standard beginnt mit einem Schock. Sänger Michael Berdan steht allein und schreit: "A part of me, but it can't be me. Oh God, it can't." Alles beginnt mit einem Geständnis. Hinter den erschütternden Schreien verbirgt sich der Schmerz der Bulimia nervosa. Es ist der Schmerz einer Krankheit, die ebenso physisch wie psychisch ist. Dies ist eine Art von Aufbruch. Mit jedem Satz von American Standard schält Uniform eine neue Schicht ab und erzählt die Geschichte im Inneren der vorhergehenden. Die Texte dringen in den Kern des innersten Selbst ein, in das kleine menschliche Wesen, das im Griff der Krankheit zerquetscht wird. Um diese Geschichte von Essstörungen, Selbsthass, Wahnvorstellungen, Manie und letztendlicher Entdeckung zu entschlüsseln, holte sich Berdan Hilfe von zwei überragenden literarischen Außenseiterfiguren. Zusammen mit B.R. Yeager (Autor des modernen Kult-Klassikers Negative Space) und Maggie Siebert (dem Kopf hinter dem zeitgenössischen Body-Horror-Meisterwerk Bonding) nehmen die drei Autoren das persönliche Material auseinander, um ein Porträt psychischer und physischer Krankheit zu präsentieren, das so eindringlich und erschreckend ist wie nichts anderes im heutigen Kanon. Das Ergebnis ist eine akkurate Artikulation eines Zustands, der über einfache Qualen hinausgeht, und fängt die aufregende Transzendenz und Befreiung ein, die Krankheit in diesem Prozess bringen kann. American Standard ist mit Sicherheit das thematisch gelungenste und musikalisch selbstbewussteste Album von Uniform, das es bisher gab. Abschnitte drehen sich und explodieren. Motive driften ins Ungewisse ab, bevor sie sich mit neuer Kraft wieder durchsetzen. Genres kollidieren und brechen auf und formen etwas Eigenwilliges und Neues. Es gibt eine Größe, die zum Teil auf die Hinzufügung des Interpol-Bassisten Brad Truax zurückzuführen ist, zusammen mit dem perkussiven Druck und Zug des zurückkehrenden Schlagzeugers Michael Sharp und des langjährigen Tour-Schlagzeugers Michael Bloom, der hier sein Uniform-Aufnahme-Debüt gibt. Diese Großartigkeit ist jedoch ganz klar der Größe und Kraft der Arrangements von Gitarrist und Gründer Ben Greenberg zuzuschreiben, die immer elegant zu den intensiven lyrischen Themen passen. Ohne den geringsten Zweifel ist American Standard ein Kunstwerk, quälend in seiner Ehrlichkeit und unerbittlich in seinem Streben nach klanglicher Transzendenz. Es ist abscheulich. Es ist wunderschön. Es ist notwendig.
With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.
Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.
"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."
The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.
At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.
"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."
Evolution ist der Motor für Langlebigkeit. Within The Ruins drängen unerbittlich nach vorne, verbrennen Selbstgefälligkeit und erschaffen Neues aus
ihrer Asche. Das Quartett aus dem Westen von Massachusetts sprengt alle Konventionen, indem es mit polyrhythmischem Geknüppel, kopfnickenden
Grooves, eindringlichem Gesang und lebendigen Erzählungen die Sinne angreift. Ihr kontrolliertes Chaos hat zu zig Millionen Streams geführt (eine
Seltenheit für so kompromisslos harte Acts), zu ausverkauften Häusern auf Tour und zu weitreichender Anerkennung durch Alternative Press,
American Songwriter, Loudwire, Metal Injection, Phoenix New Times und viele mehr. Jetzt entwickeln sie sich auf ihrem siebten Album Phenomena II
MNRK Heavy weiter. "Wenn ihr uns zuhört, hoffen wir, dass ihr das Gefühl habt, frischen Metal gefunden zu haben", sagt Joe. "Wenn man etwas
lange Zeit gemacht hat, kann man leicht in seinen Gewohnheiten stecken bleiben. Deshalb versuchen wir immer, etwas zu präsentieren, das man
h nicht gehört hat - und das man nirgendwo anders bekommt."
Fourplay is a contemporary American smooth jazz quartet, who released their eighth studio album Journey in 2004. The line-up consisted of Bob James on keyboard, Harvey Mason on the drums, guitarist Larry Carlton and Nathan East on the bass. The vocals included in a few of the selections add a dimension of freshness to those selections reflecting earlier albums. While Carlton leads the Sting cover “Fields of Gold,” it is the opening riff, East‘s vocals on the bridge, and his signature bass runs at the end that make it attractive. The complete album is self-penned, except for the opening ""Fields of Gold"". For the very first time, Journey is being released on vinyl. The album is available as a 20th anniversary edition of 1000 individually numbered copies on smokey coloured vinyl.
