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Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

This is the lead off track to The Cocktail Slippers’ upcoming album, Shout It Out Loud, out Sept 17

Lily Seabird is a perceptive songwriter who can channel moments when everything feels raw and overwhelming into something healing and galvanizing. With Alas, the Burlington, VT-based artist's sophomore album, she confronts grief with palpable clarity on tracks that careen from delicate folk to blistering indie rock. While it's her second LP, it serves as a proper introduction to an undeniable and idiosyncratic voice. "Alas, sounds way more like me," she says. "This is the album I wanted to make in the first place." Though Seabird is now known as a solo artist and collaborator in Burlington's vibrant music community as the bassist for Greg Freeman and other acts, her journey started in Pennsylvania when she picked up the saxophone as a kid. At 14, she learned guitar and started performing as Lily Seabird. After a brief stint in New York City playing in bands, she moved to Vermont, which has been her home since 2018. "When I came to Vermont, I was playing solo a lot but then I started a band with Greg Freeman," she says. "Since 2018, it's been me and Greg and a bunch of different casts of characters have been in the band since then it's an ever-evolving thing. It's just us playing my songs."The songs on Alas, came from a particularly unmoored period for Seabird. "I wrote this album in 2021 and 2022 on the road, trying to figure out who I am," she says. "A lot of them also deal with the time when my close friend passed away. The title Alas, meant a lot to her." Even if the songs don't always directly tackle this specific loss, there's a sense of mourning in how relationships change and dissolve. Take "Grace," a reflection on female friendship, which features the lines, "I hope she's happy now she should be 25 / She taught me something that I thought I'd always hide." Elsewhere, the knotty and unpredictable "Dirge" finds her singing, "I don't know if I believe in god / I don't know if I know how to go on." Seabird and Benny Yurco produced Alas, which was recorded at Burlington's Little Jamaica Studios with Freeman and drummer Zack James (Benny Yurco). It's a quietly expansive album full of subdued, organic textures and moods. Songs like "Cavity" are lush and inviting with silky guitar and Seabird's expressive saxophone playing. The 10 songs on Alas, stretch out and leave space for introspection and deep listening with some tracks taking nearly seven minutes to mesmerizingly unfold. It's a remarkably assured and vital statement from one of the most promising new songwriters alongside peers Merce Lemon, Squirrel Flower, and Allegra Krieger."The album is about loss, coming of age, and sadness but there are also all these moments where happiness takes over," says Seabird. "It can be two things at once: life isn't just pain and sadness, there's also joy. They can all exist at the same time. Alas, is an expression of grief but it's also for letting go."

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist,
wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.
Nun werden die legendären Alben der Herner Metal-Legende mit Bonus-Material mit etlichen Demoversionen (inkl. bisher
unveröffentlichten Titeln) auf Doppel-Vinyls neu veröffentlicht.
„10 Years In Rage“ (1994) enthält neben dem Album etliche Bonus-Titel auf einer Doppel-Vinyl. Ein absolutes Muss für alle RAGE-Heads!

How could this album, one of the biggest crossover country smashes of the ‘90s and a complete artistic triumph, remain a vinyl wallflower at this late date?! Well, we at Real Gone Music are pleased and proud to take this classic Mary Chapin Carpenter release to the dance with a special 2-LP expanded highlighter yellow vinyl edition that includes an entire bonus side featuring a live performance from 1994, the same year Stones in the Road was released! The accolades and accomplishments of this record are almost too numerous to list here: #1 on the Country charts, Top 10 on the Billboard 200 Pop charts, a number 1 Country hit with “Shut Up and Kiss Me,” other charting singles like “Tender When I Want to Be,” “House of Cards,” and “Why Walk When You Can Fly?”, and Grammies for Best Country Album and Best Female Country Vocal Performance. But hits and awards aside, what makes this album so special is that every song packs its own unique emotional punch, starting with the title tune that was first covered by Joan Baez; you could also point to the transcendent “John Doe No. 24” and the brilliant “End of My Pirate Days” as firsts among equals on this amazingly consistent and rewarding album (which Country Universe called the best Contemporary Country album of all time!).

Some credit must be given to the band that producer John Jennings assembled, including drummer Kenny Aronoff, keyboardist Benmont Tench, guitarists Lee Roy Parnell and Steuart Smith, and backing vocalists Trisha Yearwood, Shawn Colvin, and Linda Williams. But, as always with a Mary Chapin Carpenter album, it’s the songwriting that’s the real star: witty, wistful, personal, and REAL. With gorgeous hooks to boot! Side D includes the four tracks that came out on the Live at “Her Majesty’s Theatre” EP recorded in London, featuring a version of “Shut Up and Kiss Me,” and it all comes with two printed inner sleeves boasting lyrics. Released on its 30th anniversary with the full consent and support of the artist herself!

Around the making of Mouthfuls, Fruit Bats had coalesced into a duo with Gillian Lisée and myself. It was sort of like our own mini cocaine-free version of Rumors. She wrote the bridge to 'Magic Hour,' which is totally about her. We also co-wrote 'Track Rabbits' together which is still one of my favorite things I've ever done and probably my favorite song on Mouthfuls.' 'I wrote 'When U Love Somebody' at the very last minute right before we started to record. It was kind of the throwaway track, which of course became by far the most popular song on the album and still probably the most popular Fruit Bats song, I was just trying to make something that sounded like Ray Davies, or even more specifically The Beatles' 'Two of Us.' Also, I spelled 'you' with a 'U' to reference Prince. People still like dancing to this one. Pressed on Straw Color Vinyl & exclusive to independent record stores!

Die schwedische Musikerin Thea Gustafsson, die unter dem Künstlernamen Becky and the Birds bekannt ist, veröffentlicht am 15. November ihr selbst produziertes Debütalbum "Only Music Makes Me Cry Now" via 4AD. Zur Feier der Albumankündigung, präsentiert Becky and the Birds ihre neue Single "I made my baby cry". Der Song, ein emotional aufgeladenes Stück über Herzschmerz und Trennung, wird von einem Visualizer untermalt, den Gustafsson selbst kreiert hat. Die Visualisierung wurde von Gustafsson kreiert und stellt ihre Kreativität und eindrucksvolles Können im Studio unter Beweis. Über den Song sagt sie: "Ich habe den Song nach einer Trennung geschrieben. Für mich sind Trennungen das Schlimmste; mitzubekommen wie die andere Person innerlich stirbt und zu wissen, dass man es selbst ausgelöst hat." Mit "Only Music Makes Me Cry Now" kehrt Gustafsson zu ihren Wurzeln zurück und greift die experimentelle Herangehensweise wieder auf, die sie an den Tag legte, als sie mit dem Produzieren begann. Sie nutzte für ihr Debüt die Fähigkeiten, die sie seither erlernt hat, um neue Klanglandschaften zu erschaffen und Grenzen zu testen. Ihr unverwechselbarer innovativer Stil und ihre Emotionalität kommen in ihrem neuen Album zur Geltung.

While working on his next studio album Allen Stone realized he had enough material for multiple records, and thus the 7-song Mystery E.P. was born. Featuring 7 new songs including the title track produced by 5-time Grammy winner PJ Morton (Stevie Wonder, Maroon 5) and "Can't Explain This Love" produced by Eric Krasno of Soulive, Allen Stone returns with a groovy, vibrant mini-album that hooks you from the first beat.

The Iconic 80s Band, Berlin, Return with Strings Attached to Take Your Breath Away

Nearly 40 years after their founding, the Los Angeles-based synth pop group, Berlin, return with an album of their classic tracks_with strings attached. Working with a full philharmonic orchestra, Strings Attached sees the band revisit some of their classic tracks, from their formation in the early 1980s through to today, including, of course, the iconic theme to the movie, Top Gun, Take My Breath Away. Featuring the classic line-up of Terri Nunn, John Crawford and David Diamond, Strings Attached is perfect for both existing fans of one of the most legendary bands of the 80s and those who are being introduced for the first time.
Founded by bassist John Crawford, singer Terri Nunn, and keyboard player David Diamond, Berlin made its first national impression with the provocative single Sex (I'm A...) from the gold-selling debut EP, Pleasure Victim in 1982. The group was filled out by guitarist Rick Olsen, keyboard player Matt Reid, and drummer Rob Brill. Berlin's first full-length LP was the gold Love Life in 1984. In 1985, the group was pared down to a trio of Crawford, Nunn, and Brill. Berlin topped the charts around the world in 1986 with the single Take My Breath Away, the love theme from the Tom Cruise movie Top Gun, a track which won an Academy Award, a Golden Globe and which has cemented itself as one of the most memorable songs featured in a film of all time.

The songs that grace this comprehensive double vinyl package all come from the golden age of country music. For nearly a century now, country music has been captured on cylinder, vinyl, tape and compact disc. In America during the 1950s, while rock & roll battled calypso as the nation’s favourite sound, meanwhile in the background, these classic country songs could be heard across the land - all the way from the Gulf of Mexico, right up to the frozen wastes of Minnesota. After the golden age of what might be called pure country, came country-rock, alt-country and Americana. But the century of songs gathered together here is plain and simple country music - at its best

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Entirely self-produced at Mood Hut Studios in Chinatown, Vancouver between 2022 and 2024, the album picks up where Opening the Door left off; the songwriting concise and refined, the voice front and centre on almost every song, the pensive mood irresistible and dense.

The apparently effortless melodic interplay of voice, guitar, synthesizers and bass that Jack is well known for is ever present but despite the clear-eyed harmonies and energetic rhythms there is a shadow that quietly haunts the album. The lyrical buoyancy of his early EPs and even some of the more explicitly sunburnt instrumental moments of his last record have continued to fade and peel like paint. Regret, remorse and melancholy are woven into almost every turn of phrase; the self-deprecating longing of Tracey Thorn and Sade Adu can be heard alongside the plaintive echos of Mark Hollis and Arthur Russell. The Mood Hut Records founder and NTS host digs deeper in all the directions that he only brushed upon on Opening the Door, creating a kaleidoscopic index of his omnivorous listening habits: from Underworld to Kate Bush, Disco Inferno to Bryan Ferry, Julian Cope to Arthur Verocai.

The LP will be released on Jack’s own Mood Hut Records on November 1st and will be followed by a live tour in the UK and Europe in November and December, featuring a string of dates opening for revered Los Angeles artist Jessica Pratt.
- Mood Hut Records, Vancouver

Produced by Jack Jutson at Mood Hut Studios, Chinatown Vancouver
Mixed by Jack Jutson and CZ Wang
Saxophone by Linda Fox
Strings on Falling Down a Well by Aiden Ayers
Bass on Down the Line by Diego Herrera
Additional synth on Red Cloud by Liam Butler
Artwork by Mela Melania + Jack Jutson






e A5. Pink Shoes Part I





Part II

Classic no filler roots rockers selection from Jimmy Radway's Fe Mi Time productions.

Nice Swan veröffentlicht das neue Album der L.A. Alternative-Rocker Jagged Baptist Club. "Physical Surveillance" handelt davon, alte Gewohnheiten, alte Realitäten und das alte Selbst sterben zu lassen. Es geht darum, vorwärts zu gehen, sich zu entwickeln und zu versuchen, sich auf die Gegenwart zu konzentrieren und in die Zukunft zu blicken. Zu erkennen, dass man eine bessere Version seiner selbst werden kann und dass es in Ordnung ist, das Buch über seine Vergangenheit zu schließen, und zwar auf eine Art und Weise, die die Vergangenheit nicht auslöscht, sie aber zumindest unter Glas legt. Es macht auch einfach richtig Spaß, sich das anzuhören.

Liquor Talkin’ is the debut studio album from Texas-based country artist Don Louis. Born in Irving and raised on a 12-acre farm in Commerce, Texas, Don Louis learned the meaning of work early on. He grew up tending to livestock, singing along to George Strait and Al Green, and playing football. Done was an All-District defensive end for Commerce High School and played on scholarship at Ouachita Baptist and Southern Arkansas. He performed well at NFL combines, but an injury in 2020 changed everything and Don son found himself chasing his other childhood dream - being a professional singer. Don’s mix of Country, Rock, and Rhythm and Blues has been winning over loyal fans from the start. He’s shared the stage with acts such as Dylan Wheeler, and Don’s personality and gritty voice have also earned him a healthy following on Spotify and social media. Ask Don how he’s doing and he’ll often reply, "I'm blessed and highly favored!” That attitude says it all.

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" Via Negativa (in the doorway light). Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo's enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering - these are technicolor widescreen anthems of the cybernetic age. The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band's fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music's polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals." From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don't see directly."

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" Via Negativa (in the doorway light). Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo's enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering - these are technicolor widescreen anthems of the cybernetic age. The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band's fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music's polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals." From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don't see directly."

Transcendental poetry meets Southern Nightmare Jazz on the third album by Alabama-based artist Johnny Coley Mister Sweet Whisper is the meeting of poet & artist Johnny Coley and the band Worst Spills, led by guitarist & arranger Joel Nelson. (Imagine "King Tubbys Meets Rockers Uptown," but more like "William Burroughs Meets Lounge Lizards in Ghost Swamp"). Joined by vibraphone player and recordist of the group, Jasper Lee, Mister Sweet Whisper centers Coley as a gifted writer and unique elder voice, supported by an eclectic cast of friends & collaborators. Tapping into French surrealism and transgressive American poets such as John Ashbery, the songs in Mister Sweet Whisper evolve, cinema-like, with Coley as an uninhibited, almost mystical, narrator. Textural, jazz-like playing complements Coley's decadent landscapes, which glide by like cigarette-inspired invocations. Echoing, and at times, dissonant notes of saxophone, crystalline tones of vibraphone, and jagged guitar arrangements punctuate Coley's dreamlike visions, populated by ballet dancers, haunting nightclubs, and ghostly car drivers. Wistful and expansive, the songs in Mister Sweet Whisper speak of Coley's talent and natural ability to channel his poetic world into songs. A remarkable follow-up to Coley's first two albums_Antique Sadness, from 2021, and Landscape Man, from 2022_which were praised as "exquisitely haunting, sublime, hilarious" and falling "somewhere between Robert Ashley, David Wojnarowicz, and Intersystems," Mister Sweet Whisper arrives in full form: unpredictable and brilliant. LP comes with a 4-page booklet featuring artwork and writing by Johnny. Pressed in black vinyl.

Discover La Boulangerie - Back Burners on vinyl for the first time!

Part of the famous La Boulangerie series by La Fine Équipe, Back Burners features exclusive tracks specially composed for the 10th anniversary of La Boulangerie. Until now, these tracks were only released as part of a special box set created to celebrate this 10th anniversary, which is now sold out.

Includes the track "Tiramisu Fraise," which has accumulated millions of streams on various platforms.

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

Pascal Obispo, französischer Singer-Songwriter aus Bergerac, begann 1988 ber der New-Wave-Band Senso als Bassist und übernahm später die Rolle des Leadsängers. Sein erstes Soloalbum, Le Long du Fleuve, erschien 1990 und wurde mit den Mitgliedern von Senso aufgenommen. Das Album blieb von den Kritikern weitgehend unbeachtet, aber es verhalf Pascal Obispo zu einem Plattenvertrag mit Epic, wo 1992 Plus Que Tout au Monde erschien. Mit dem Titeltrack und anderen Singles wie Tu vas me manquer" festigte er seinen Status als einer der am schnellsten aufsteigenden Stars der französischen Popmusik. Diesem Erfolg ließ er 1994 Un Jour Comme Aujourd'hui folgen, das Platz 17 der französischen Charts erreichte und mit Platin ausgezeichnet wurde. Sowohl Superflu (1996) als auch Soledad (1999) erreichten in Frankreich Platz 2, und das Live-Album Live 98 (1998) brachte ihm seine erste Nummer-1-Platte ein. In den folgenden Jahren wiederholte Pascal Obispo dieses Kunststück noch einige Male mit den Alben Studio Fan - Live Fan (2004), Les Fleurs du Bien (2006), Millésimes (2013) und Billet de Femme (2016). France, sein elftes Album, erschien 2021 und verfehlte nur knapp den Spitzenplatz der Albumcharts und landete auf Platz 2. Das neue Album L'Archipel des Séquelles besteht aus unveröffentlichten Songs von Pascal Obispo - aufgenommen und abgemischt von seinem treuen Begleiter Youri Benaïs in seinen Pariser Studios. Dieses Konzeptalbum mit intimen, akustischen, jazzbeeinflussten Liebesliedern wurde erneut von seinen beiden New-Wave-Jazz-Freunden Fred Nardin und Max Pinto produziert und basiert ausschließlich auf Begegnungen mit Künstlerinnen mit inspirierenden Stimmen: Da wären Zazie, mit der Obisipo seit ,Les meilleurs ennemis" nicht mehr gesungen hatte, mit einem Lied, das sie gemeinsam geschrieben und nie aufgenommen hatten, Carla Bruni, die zwei Songs beisteuert, Elodie Frégé, mit der er bereits auf ihrem Album ,Le grand amour" gemeinsam aufgenommen hat. Oder Nolwenn Leroy, für die er seine allererste Single ,Cassé" produziert hat. Anne Sila, die grandiose Interpretin der Maria in seinem Musical über Jesus von Nazareth. Sharon Laloum, die Interpretin der Myriam in der neuen Version der Zehn Gebote, und nicht zu vergessen sind Isabelle Boulay, die große Künstlerin aus Quebec, für die er bereits Lieder geschrieben hat, und Nawel Ben Kraïem, die junge tunesische Künstlerin, mit der er an seinem ersten Musikprojekt gearbeitet hat. Der Rest des Albums wurde gemeinsam mit Pierre-Dominique Burgaud geschrieben. Mit dem Album ,L'archipel des Séquelles" setzt Pascal Obispo seine Suche nach Schönheit und Stille fort. Als CD oder farbiges Vinyl.

'This Is The Breaks' ist ein 12-Track-Blick auf die Geschichte des Breaks - und es sind alles für immer großartige Jazz-, Funk- und Soul-Nummern. Ace hat nicht nur Tracks aufgenommen, die im ersten goldenen Zeitalter des Samplings gesampelt wurden, sondern auch Tracks, die von einigen der größten Namen von heute verwendet wurden. Der Vorhang öffnet sich mit Millie Jacksons Version von 'If Loving You Is Wrong I Don't Want To Be Right'. Einer der größten Produzenten des Hip-Hop ist DJ Premier von Gang Starr, dessen Beatpicking beispielhaft ist und dessen Art, wie er diese Beats verwendet. Seinen Einsatz von Joe Simons 'Drowning In The Sea Of Love', das er bearbeitete und manipulierte, um den Hook von Gang Starrs Single 'You Know My Steez' aus dem Jahr 1997 zu bilden. Während die Musik auf dieser Compilation gesampelt wurde, um brillante neue Songs zu komponieren, haben die Originale den Test der Zeit bestanden. Klassisch, schwarzes Vinyl!

Retro Soul entstand zu einem Zeitpunkt, als Soulmusik ihren Höhepunkt erreichte. Damals waren die Pioniere der 60er Jahre so weit gereift, dass sie die Erfahrungen des letzten Jahrzehnts nutzen konnten, um eine unglaubliche Fusion zu schaffen, die R&B, Gospel, Funk und Jazz mischte, sie mit anspruchsvollen Arrangements ausstattete, die es den Zuhörern ermöglichten, in ihrer Tiefe zu schwelgen und zu ihrem Beat zu tanzen. Die 12 Titel auf 'This Is Retro Soul' sind ein Einstieg in diese mythische Welt, die Bilder von Schlaghosen, Halston-Kleidern, Cadillacs und Frisuren mit Umfang von Raumhelmen heraufbeschwört. Doch die Musik folgt keinen simplen Klischees, egal ob sie von internationalen Superstars wie Isaac Hayes und Millie Jackson, oder Kulthelden wie George Jackson bzw. Darrow Fletcher stammt. Auch hier klassisch, schwarzes Vinyl!

Die einzige Spur von Kenneth Wright aus Atlanta sind eine Handvoll nicht aufgenommener Songtitel auf BMI, vertreten durch Awares Verlag Act One. Mindestens ein Dutzend seiner Aufnahmen wurden kürzlich in den Tonbandarchiven von Aware gefunden und 'The Souls Of Black Folks' ist die beste davon. Es enthält Kenneths Gesang und eine ebenso beeindruckende unbekannte weibliche Hauptrolle, die dem Projekt noch mehr Mysterium verleiht. Von derselben Quelle des Atlanta-Labels stammt Miss Louistines Interpretation des Sam Dees-Songs 'Extra, Extra'. Ursprünglich von Ben E. King als Albumtitel aufgenommen, war diese druckvollere Version auf einer kürzlich erschienenen 100 Club Anniversary 7inch zu hören und erfreut sich großer Nachfrage.

Gotho is an experimental instrumental duo formed in 2020.

Their debut track, "Gatta De Blanc," was a 25-minute composition, showcasing their signature mix of synthesizers, electric piano, and drums, with no backing tracks or overdubs. Blending elements of progressive rock, metal, jazz, disco, psychedelia, post-rock, and classical, their sound defies categorization.

After gaining acclaim for their live performances, they released their first album, *MindBowling*, in October 2022 through Controcanti Produzioni and Black Widow Records, receiving strong reviews.

In November 2024, Gotho will release *Gothron Versus Fartark* with Supernatural Cat. Set in a sci-fi world, the album tells the story of two robotic enemies battling for their world's survival, using synthesizers, electric piano, vocoder, trumpet, and drums to narrate Gothron’s victory over Fartark. Like their previous work, the album spans multiple genres, resisting any single classification.

Gotho are: Fabio Cuomo (Elder, Eremite, Liquido Di Morte) on synth and electric piano. Andrea Peracchia (Tons, Dogs For Breakfast, Slaiver) on drums.

Exquisitely compiled by Discrepant head honcho Gonçalo F. Cardoso from three tapes released earlier this year by the tireless mind-body of Spencer Clark through his own Pacific City Sound Visions, 'This Year In Coconuts Vol. 2' is another revelation into the deeply personal soundworld of this true voyager of both ancient, present and forthcoming times. Coming from a truly singular artist, capable of conveying multiple visions into a labyrinthine-esque mythology all of his own, these seven tracks feel as much part of their original setting as connected pieces from this never ending and puzzling netherworld.

Dedicated to the Temple of Isis in Pompei and opening sides A and B, the two tracks from 'Tempio d'Iside' set up a scenario not far from a dream version of the Temple itself, made from crystal clear synth-lines and levitating ambiences, like drifting into ancient memories from days to come. Making up about half of the compilation, the four tracks from 'Kowloon Spider Temple' drip into a feverish mosaic of Clark's by now trademarked cascading rhythms, unhinged alien-vocal samples, phantasmic textures and sparkling synth harmonies projecting a catchy hypnotic oblivion filled with intrigue. The sole title track from 'From the Caves and Jungles of Apulia' tangentially reports back to some lower-fi recordings of the past, with its murkier sound inducing the feeling of willing confinement within such caves and jungles. A brilliant Year in Coconuts, indeed.
Mastered by Rasha

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist,
wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.
Nun werden die Alben der Herner Metal-Legende mit Bonus-Material mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln) auf
Doppel-Vinyls neu veröffentlicht.
Ein absolutes Muss für alle RAGE-Heads!

Yemen Blues was founded in 2010 by the singer, multi-instrumentalist and extraordinary showman Ravid Kahalani. Their music is inspired by the culture of Yemen which is at the crossroads of the Arab world, East Africa and Jewish traditions. A culture that reconciles the learned and the popular and mystical experience. Connect these age-old and essential trances with the most contemporary energies of Blues, Funk and Rock; let it be played by extraordinary musicians.
High energy and profundity; freshness and mastery are all combined in the world of Yemen Blues. Shabazi - A Tribute to the Poet is a special project imagined by the group, setting the most beautiful texts of the greatest Yemeni poet of the 17th century Shalem Shabazi to 21st century music. The mix was done by Tamir Muskat (Balkan Beat Box and Gogol Bordello).

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.

The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."

From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."

The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.

The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."

From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."

Nach Funk, Soul und Reggae entdecken Sie in der neuen Ausgabe der Greatest Hits-Sammlung alle Blues-Hits. Muddy Waters, Robert Johnson, BB King, John Lee Hooker... Die größten und legendärsten Bluesmusiker auf einer schönen Vinyl 2LP

Somethin" In The Water is the culmination of kitti"s musical journey to date and reflects her reputation as one of Scotland"s most exciting jazz performers, with her accolades including Best Vocalist at the Scottish Jazz Awards in 2022 and 2020, and Best Breakthrough at Scottish Music Awards 2020.

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

Pile - the trio of Rick Maguire, Kris Kuss, and Alex Molini - found inspiration in the studio while working on their latest LP All Fiction, working tirelessly to record, experiment, manipulate, mutate, and layer the songs with lush orchestration, haunting synths, and abstract textures. Challenging the confines of the standard “rock band,” they took inspiration from artists like Portishead and Aphex Twin, reigniting their passion as they explored their sound in a new realm. The sessions resulted in a flutter of productivity and before the band knew it they had completed well over a dozen songs, stretching far beyond the confines of a single LP’s runtime. After much deliberation, songs were pulled from the record, never a “trimming of the fat” but more of a consideration of which songs were able to stand best on their own. These songs form the Hot Air Balloon EP. Released digitally on January 5th, 2024, and now in LP format for the first time, the EP captures the band experimenting in all directions, from the direct to the further abstract. Following the release of “Scaling Walls,” a song Paste Magazine called “a contemplative slow-burn,” the band introduce the EP with the quasi title track, “The Birds Attacked My Hot Air Balloon,” a song that finds Pile in a more surrealist state, the meditative composition bristling with shuffling rhythms and brilliantly disorienting synths.

Josh Rouse followed his acclaimed album, 1972, with Nashville, inspired by the city where he was living at the time. Working once again with Brad Jones, Josh delivers an album that both critics and fans praised. The sound expands on the sounds he explored on his previous album. It includes the songs, “Streetlights,” “Winter in the Hamptons”, “It’s the Nighttime”. Entertainment Weekly described this album as, "Persistently gorgeous. "

This Is It ist die brandneue EP des schwedischen Grunge-Pop-Acts ShitKid, welche im Januar 2018 über PNKSLM Recordings nur auf Vinyl und digital erscheinen wird. Es handelt sich dabei um das Projekt der 23-jährigen Musikerin Åsa Söderqvist, die mit dieser EP das Follow-Up zu ShitKids gefeiertem Debüt-Album Fish veröffentlicht. Die Kritiken von Ex NPR, iD, The FADER, Noisey, DORK, The Line of Best Fit und vielen anderen Stimmungsmachern fielen recht positiv aus, wobei Åsa eine deutliche Weiterentwicklung beim Songwriting bescheinigt wurde. Aufgenommen, geschrieben und eingespielt wurde This Is It von Åsa Söderqvist und gemischt von Luke Reilly.

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More
showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats.

Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble
performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall.

Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.