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** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

With Between Time, the third album Steve Louw has delivered in as many years, he explores those
moments that fall just outside the strict constructs of time. The songs have a sense of past, future, and
present, using imagery that is both timeless and present.

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

On her new album Alva, singer, musician, activist and cultural icon Mari Boine offers glimpses into a childhood which she abandoned when she chose to leave behind a strict religious upbringing in order to pursue a life of activism.

The new studio record reflects on finding the balance the between her, the at times lonely, mission to share the culture and histories of the Sámi people through music to people across the world, and her personal journey and relationships. The poignancy of the record
reaches an emotional high on the mournful “Mu eadni” (Mother of Mine), wherein Mari laments her own relationship with her mother. She is also found reflective on “Oainnestan” (Glimpses), when looking at the relationship she has with her son.

Alva reflects the “willpower” of its name, and takes the listener on a musical journey of exhilarating momentum, spurred along by a full band. There’s an emancipated energy that is also reflected in the music, soaring to new heights over vast imagined landscapes of the
tundra of Northern Norway.

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical media release of Tom Holkenborg’s explosive score to George Miller’s latest wasteland epic FURIOSA: A MAD MAX SAGA. Tom Holkenborg’s collaborations with the legendary George Miller Mad Max: Fury Road, Three Thousand Years of Longing have produced some of the most unique and powerful film music of the last decade. With FURIOSA, he takes the sonic landscape he created with the last film and shifts into higher gear. The loudest revving-engine of a score you’ve ever heard, absolutely pulsating with ferocity and white-knuckle tension.

"My collaboration with the incredible George Miller began over a decade ago with our work on Mad Max: Fury Road, a project that marked a pivotal moment in my career as a film composer." says Holkenborg. "Returning to this world to score the odyssey of Furiosa, an epic tale of survival, resilience and revenge has been just as eye-opening and gratifying. Furiosa: A Mad Max Saga is a testament to the vision of a singular film maker, whose pursuit of excellence always inspires me to push my creative limits."

Pressed on 2x 140 gram eco vinyl, with liner notes by composer Tom Holkenborg and housed in a tri-fold sleeve designed by Mutant co-founder Mo Shafeek.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after it’s release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

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

Geschrieben wurden die Hauptteile der Songs auf 'Fever Dreams' im Laufe von zwei Jahren, aufgenommen wurden sie in einer Reihe von Full-Band-Studio-Sessions Ende 2019 und Anfang 2020. Während der langen, entschleunigten Pandemie-Tage verfeinerte O'Brien sie in seinem winzigen Heimstudio in Dublin. Gemischt wurde das Album von David Wrench (Frank Ocean, The XX, FKA Twigs). Ursprünglich erschien das Album im August 2021.

Format: Orangene Vinyl inkl. Downloadkarte

Limited coloured vinyl release of The Living Infinite originally released in 2013 from Swedish melodic death metal band Soilwork, replacing the sold out vinyl versions, to keep this album available on vinyl during their tour in Europe in October:

Coming out on September 6th on Sharptone Records, Sundiver is Boston Manor’s fifth album and one that represents a glimmering dawn for the Blackpool five-piece. Grown from a seedbed of optimism and sobriety, the LP celebrates new beginnings, second chances and rebirth. With two members recently stepping into fatherhood, hope is baked into every note. “Datura came out of these really dark few years over the hangover of the pandemic,” Henry reflects. “I'd been struggling a lot with drinking and not taking care of myself and bad mental health and stuff. We wanted Sundiver to be the next morning of the following day.” He explains that it feels good this time round to write through the lens of positivity. “The themes began to emerge, of rebirth, spring, dawn, sunshine and then other elements just started to fit into that.” It was during the making of Sundiver that Henry found out he was going to be a dad. This album is a significant one for the band. Originally coming out of the emo and pop punk scene, they’ve explored sonics and genres throughout their career, taken risks and achieved more than they could ever had dreamed of. They’ve grown up as Boston Manor – their lives and the world changing around them. They’re now taking stock, at a crossroads of the band they were and the band they could be.
While writing the album, they revisited the bands that shaped them in the late 90s and early 00s. “I was listening to the music I loved when I was a teenager and I just thought, why don't we make music like our favourite bands?”, guitarist Mike Cuniff remembers with a smile. “So we brought our interests to the table that way. Y2K kind of vibe. There are elements of Deftones, there are elements of Portishead in there, some Garbage, The Cardigans.” He laughs and adds NSYNC to the list of inspirations. From this cocktail of classics comes a dynamic and ambitious record, rich with depth, groove and more hooks than Peter Pan’s nightmares. Lyrics that foxtrot from parallel universes to personal growth, vivid dreamscapes to raw grief. Individually they’re single strokes full of meaning and magic. Together they’re a landscape.
Container (out Feb 15th) is the first single and it’s them at their best – impassioned and infectious. “This song is about the stagnancy of life creeping up on you & how that can bring about change.,” Henry explains, citing Ocean Song by US band Daughters as an inspiration.

The concept of the butterfly effect is present on Sundiver – how small actions can lead to big changes. This is no clearer than on their second single, Sliding Doors (out April 5th). It has the golden sound of late 90s Lollapalooza rock – think Smashing Pumpkins - rebooted with crisp 2024 production and a potent heaviness. In the lyrics Henry wonders, what if?, pondering on what could be. The idea that there are infinite versions of you whose lives splinter off in different directions at every decision you make. That there’s another you out there somewhere right now reading this sentence, and another me writing it. “So much is down to chance and circumstance,” Henry says. “You might catch that train and your life totally changes. Or you might miss it and things stay the way they are.”
Heat Me Up (out May 30th) is defiant and victorious, the audio equivalent of quitting your shit job and driving into the hot summer sun with a head full of dreams. “The lyrics are about love and gratitude,” Henry shares. “Another theme on the record is just appreciating what you have. It’s about not taking for granted the things that you've been afforded.”
There was some natural magic in the creation of Sundiver. They worked with their usual producer, Larry Hibbitt, and engineer, Alex O’Donovan, but instead of recording in London again they ended up in the green pastures of Welwyn Garden City. “Because Larry lives out in the countryside now, it was a way different environment and way different experience recording this time,” Mike remembers. “That contributed a lot to the brighter sound of the record.” The daily barbecues they had during their recording sessions imbued the process with harmony – five old friends spending quality time together and making quality music.
However, the album is by no means one-note. Birthing this new world they’ve created wasn’t without it’s pain, and that can be heard in the heavier moments on Sundiver. What Is Taken Will Never Be Lost is the most-stripped back on the album, a slow rock number seasoned with the downtempo Portishead influence. The heartfelt lyrics are Henry’s way of processing the loss of his grandfather, who died in a hospice last year(?). “It was just fucking horrible. It was always cold when I went there and they were always trying to get rid of me. The song title, What Was Taken Can Ever Be Lost, is the idea of his memory fading at the time because of dementia.” Henry goes onto explain that shoeboxes of photographs, diaries and a legacy is what he’s left behind. “He lived a really rich life and it has really impacted me and my father. His legacy is etched into the fabric of history in a very small way.” This song continues the connection between his grandfather and the band, as his painted face is emblazoned on the cover of the very first Boston Manor EP, Driftwood. As well as emotionally heavy themes, there’s heaviness in the music of Sundiver too. The closing song, Oil In My Blood, descends into an intense shoegaze outro with Debbie Gough from Heriot screaming hellfire. It’s in moments like this that the band show us aggression and fury can be as much a part of positive change as quiet introspection. The last lyrics of the song, “It resets and starts again,” leaves us in contemplation as the final chord rings out.
Touring the US, Europe and Japan over the years makes for an impressive CV, but if you know anything about Boston Manor you’ll know that they’re all about their hometown. Their choice to work with Blackpool-based photographer Nick Barkworth is testament to that. They’ve been working with him since the pandemic. “He captures Blackpool in a light that really reflects the weirdness and quirkiness of the town,” Henry says.” He's got a really good way of presenting that.” For the Sundiver cover, Nick photographed a 30ft tall abstract glass sculpture made by the local artist John Ditchfield. A striking and bewitching monolith that’s familiar to them but unusual to most people. “It has such kind of a gravity and power to it,” Henry describes the sculpture which stands in a field just outside of the seaside town. “It reminds me of either an explosion or a star or a supernova. To me it represents new life, power and radiance.” Boston Manor have got a knack for that - connecting the otherworldly and the everyday, the stars and the streets.
They’re a band known for using their music to make bigger statements about society. This time round they’re harnessing the uplifting power of music, and the communion it creates, as an antidote to the daily doom and isolation. “It seems like absolute chaos out there at the moment,” Henry says. “You’ve got Gaza and Israel, you've got Russia, you've got the fact that 40% of the world is going to have an election this year and increasingly most governments are leaning very far to the Right. The internet is dividing everybody, people are getting poorer and more desperate. It's really, really scary.” They considered trying to tackle the weight of it all in their music. “We could’ve written Welcome to the Neighbourhood on steroids, where it's just absolute darkness and misery”. He’s referring to their 2018 concept album that deals with class, inequality and the bleaker side of Blackpool. “But I think it's really important to write something that people can be immersed in and find some sort of solace in. Somewhere they can escape to from the modern day pressures and everything that’s going on. We’re all in this together.”

AMERICAN ROCK `N ROLL TRIFFT FRANKFURT ROCK CITY. Bereits seit Mai 2017 steht die vom Texaner Chase Wilborn und dem Frankfurter Julian Lapp gegründete Band auf den Brettern, die die Rock-Welt bedeuten und erspielen sich mit ihrer perfekten Mischung aus melodischem Stadion Rock und einer gehörigen Ladung Alternative eine stetig wachsende Fanbase. Im Frühjahr 2022 veröffentlichten LOSING GRAVITY mit ,LIVING IN RIDDLES" die erste Single des Debüt-Albums ,HEADED SOUTH". Besser könnte der Start zum ersten Longplayer nicht laufen, denn hier rockt Bandgründer CHASE WILBORN mit keinem Geringeren im Duett, als dem ,THE NEW ROSES"-Shouter TIMMY ROUGH und das sorgte in der Szene für gehörigen Wind. Auch 2023 legten LOSING GRAVITY jede Menge Autobahnkilometer zurück, tourten mit MOLLY HATCHET durch Deutschland, supporteten namhafte Acts wie KISSIN DYNAMITE, THUNDERMOTHER, THE SWEET und BONFIRE und spielten eine sattes Paket an Headliner-Shows. Das Frühjahr 2024 gehörte ganz dem Songwriting und Recording ihres 2. Silberlings! Erneut ging es in die Hessischen Basement Studios zu Markus Teske wo nun das neue Album ,ALL IN" fertiggestellt wurde.

“If rock ’n’ roll’s a dream, please don’t wake me.” Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion. No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving. Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen. Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

After a slight hiatus Jad & The’s Speed Dial imprint is back and this time joined by a myriad of underground talent to give you the Various Artists “Rhythm Rituals” EP.

The A side is jam packed with 3 uptempo tech-prog-chug goodness featuring Eora Nation based up and comer Mtty, label head Jad & The, and a re-issue of Pocket’s timeless “Smoke Signals” previously released via Australia’s seminal “Thunk” Recordings in the year 2000.

On the flip the tempo is slowed but Australian DJs DJ Relax and Local Support deliver arguably the finest moments on the record - broken beat Balearic badness in the best way, hell yeah!

Norwegian talent Meera makes her Crosstown Rebelsdebut with the atmospheric ‘Stikk’. Landing on 30th August, the EP sees the young artist flex her production prowess with remixes from Dennis Cruz and Tripolism.

Riding the success of her debut single ‘Music For Humans’ in 2023, Norway’s Meera was swiftly recruited by Damian Lazarus, joining him at his Hï Ibiza residency before heading to Rebellion for the release of the resonant ‘Teflon’. The sought-after artist has shown no signs of slowing, releasing a series of remixes this year amongst European shows, festival appearances, and Ibiza
pit stops. Continuing this momentum, she now makes her label debut on Lazarus’ renowned Crosstown Rebels with ‘Stikk’, with imprint regular Dennis Cruz joining on remix duties alongside melodic Danish trio and former collaborators Tripolism, who also make their first outing on Crosstown.

Landing in realms of afro-house, Meera’s production is cool, confident, and creative. With eclectic influences audible throughout her standout sound, her ‘Stikk’ EP proves why she first garnered the attention of artists such as Jimi Jules and John Digweed. The title track leads with minimal climbing percussion, introspective piano melodies and delicate, dreamlike vocals. In contrast, Tripolism’s remix turns up the intensity to a biting crescendo, adding sharp synths for a more dancefloor-focused feeling. ‘Sykkelkurv’ reaches for higher planes of emotion with its atmospheric soundscape, moody chords and driving drums, toeing the line between light and dark. Next, Dennis Cruz’s interpretation drives the track off the line and into deeper rhythms with chunky low-ends, picking up the pace for peak time. Digital purchasers are treated to a bonus track titled ‘Stikk Reprise’, a pulsating trip back into the lead single, with a heightened focus on the song's hypnotic vocals and raw emotive energy.

WRWTFWW Records is continuing its fruitful and blissful collaboration with New York ambient / jazz / downtempo musician Danny Scott Lane with the first ever vinyl release for his 2021 cassette album Caput. The 12-track beauty is available as a limited edition LP (500 copies worldwide) housed in a marvelously designed heavy 350gsm sleeve. The album is also available digitally.

Originally released on cassette only, Caput is desert music inspired by the city, a serene and cozy soundtrack of contemplative synth, mini pleasure-grooves, and botanical ambient jazz, sure to gently pacify the emotionally conflicted and make small moments the best moments. Scott Lane’s smooth downtempo is like a cushiony bubble of simple life, protecting the mind from noise and stress. It’s the comforting hand on the shoulder, the blanket that keeps warm, the easy Sunday morning breakfast - caring chillout music to escape from the brouhaha.

Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Purple, the second studio album released in 1994 by the Stone Temple Pilots, stands as a monumental achievement in the band's career and a defining moment in the grunge and alternative rock music scene of the 1990s. With a potent blend of raw energy, introspective lyrics and masterful musicianship, Purple not only catapulted Stone Temple Pilots to superstardom, but it also marked a significant evolution in the band's sound.

The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at No. 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide.

Its chart-topping single, "Interstate Love Song," became an anthem for a generation, and the album as a whole showcased the band's artistic prowess.

Lyrically, "Purple" also revealed a more introspective and mature side of Stone Temple Pilots. Scott Weiland's songwriting delved into personal struggles and emotions, addressing themes of addiction, love, and self-discovery. This depth added a layer of authenticity to the album, allowing listeners to connect with the band on a profound level.

Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music.

Analogue Productions has given the showstopping Purple the full reissue treatment: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.

After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously.

The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label.

When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me.

Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control.

I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings.

I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

Alter is proud to present the debut full length release from devotional music outfit Unstern, a collaborative effort between deep ambient artist Arzat Skia and prodigal pianist Leo Svirsky. Co-mixed by Swedish electronic music luminary Civilistjävel! and Arzat Skia and mastered to tape by Stefan Betke, the album features lush electronics, two pianos refracting across the stereo field, processed recordings from the Peruvian Amazon, bowed percussion by Greg Stuart, alongside strings and renaissance meantone organ recorded at Orgelpark in Amsterdam.

The results are an abundant audio illusion where what seemingly repeats slowly over time morphs in a manner where the destination escapes the departure point with extreme discretion, a reverent nod to Morton Feldman's compositional method of "Crippled Symmetry."

Throughout Es Geht Der Tag there is a muted, refined melancholy imbued with a constantly fluctuating pulse which generates a sense of temporal disorientation, leaving the listener lost in a strange yet not at all unfamiliar sonic labyrinth. It is a journey whereby a glorious subtle tension exists between the grandiose and the restrained.

This is environmental music, not in the sense of capturing nature itself, more with regards to an unfolding of audio elements which move in a manner in tune with the multitude of flows in the world.

Unstern’s Es Geht Der Tag is a deep mental journey, rich in subtle transcendental tendencies and psychic liberation.

Before Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans.

Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country — a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time

The album — the first to feature Nelson with long hair and a beard on the cover — gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs "Shotgun Willie" and "Stay All Night (Stay A Little Longer)" peaked at Nos. 60 and 22 on Hot Country Songs respectively.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the timeless Willie Nelson classic, Shotgun Willie. Cue it up and prepare to be transported!

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.

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

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

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.”

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.

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.

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."

Milky Clear Vinyl. Aprender a Ser: Extended is an EP by Mexico City band Mint Field. It was recorded in the same sessions as Mint Field's latest album, Aprender A Ser. Mint Field decided to split the work into an album and an EP as they felt it was too dense for a double album and wanted these songs to co-exist in another space and have its own time to shine. As with Aprender A Ser, the EP incorporates influences from shoegaze, trip-hop, dream pop and electronic music. The final track includes longtime friend and cello player Mabe Fratti to play Cello. Time. It's something we tend to cherish. As a band, you're typically thrown into more than usual stressful scenarios when recording albums and rushing decisions becomes the norm. Mexico City's Mint Field knows this all too well. Rewind to the spring of 2020 (yes, Covid). The band started fleshing out their new album Aprender a Ser (meaning Learn To Be in English), the follow up to 2020's minimalist psych/ shoegaze album, Sentimiento Mundial. For the first time, the band was not under any time constraints in the recording process. They wrote, recorded, produced and mixed the album in isolation. They had time to slow things down and think more obsessively about the sound, environment and vibe they wanted to create. Aprender a Ser became really intimate, every single detail was meticulously worked on. Mint Field recorded take after take, but at the same time tried to keep the soul of the demos intact. Some of the guitar and drums are first takes in the final versions. The band would let a recording sit, leave it and come back to it. The songs evolved a lot doing so, but at the same time didn't lose the essence of its original intention. Thematically, Aprender a Ser talks about opening our perspective of the reality that we live every day, acknowledging each moment that we witness in life. Learning to recognize what we are, what we live, what we see, what we feel. Whether it's seeing ourselves in the past and observing how we have evolved in the present. Or the lifetime of a butterfly from its formation within a cocoon to how it lives its short life in five days. Or seeing how an orchid slowly opens every day, never forgetting the essence of what we are and will be. Nothing in life should be taken for granted. Living in the present is a gift. Learning to be (Aprender a ser) is learning to recognize our emotions, not repress them, not turn them off and feel them.

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.

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.

"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.