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Factory Benelux presents a limited crystal clear vinyl edition of Dark Light, the eighth studio album from post-punk trailblazers Section 25, originally released in 2013.
Recorded in 2012, Dark Light would be the band’s first collection of new material since the tragic loss of founder Larry Cassidy in 2010, and marked a return to the smooth electro and synth-pop textures first explored on their seminal 1984 album From the Hip. These echoes are amplified by the presence of co-vocalists Beth and Jo Cassidy, as well as a sublime cover image by iconic artist/designer Peter Saville.
Much of Dark Light was produced in collaboration with remixer Derek Miller (aka Outernationale), and includes new versions of single tracks Colour Movement Sex & Violence and Inner Drive. Other stand-out cuts include future pop classic My Outrage, also released as a single on Record Store Day.
“A revelation. The group were once doomy post-punks whose 1984 electronic album From the Hip anticipated house music and thrilled New York clubland. Now the deaths of singers Larry and Jenny Cassidy have inspired their daughter Bethany to carry on the family business and give the band a makeover. The collision of the original members’ brittle rhythms and the angelic voices of Bethany and similarly fresh-faced co-singer Jo takes recent material into shimmering club-pop heaven” (The Guardian, 2014)
Now released on vinyl for the very first time, FBN 145 is limited to just 500 copies pressed on crystal clear vinyl. The digital copy contains several bonus tracks.

Slade waren in den siebziger Jahren unaufhaltsam und wurden zu einer der größten Bands Europas. Sie veröffentlichten sechs Hit-Alben, darunter drei britische Nr. 1-Hits und 17 aufeinanderfolgende Top-20-Singles, ihre Hits sind ein Synonym für die Glam-Ära. Slades
Debütalbum "Beginnings" wird zum ersten Mal als Mediabook veröffentlicht und enthält die Hits "Genesis", "Pity The Mother" und "Born To Be Wild". Zudem erhältlich als LP in Transparent Yellow & Orange Splatter Vinyl.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

Im Jahr 1986 erschien in der Bostoner Times eine Anzeige, in der Charles Thompson (alias Black Francis) und Joey Santiago einen Bassisten und einen Schlagzeuger suchten, die sowohl Hüsker Dü als auch Peter, Paul & Mary mögen sollten. Kim Deal (auf den ersten beiden Platten noch als Mrs. John Murphey) und David Lovering meldeten sich auf die Anzeige, und die Pixies waren komplett. Mit ihrem ungestümen Rock, den brachialen Tempowechseln und den sägenden Gitarrenriffs wurden sie zu der Indierockband überhaupt. Kurt Cobain gab zu, dass er einen Song wie "Smells Like Teen Spirit" ohne die Inspiration durch die Pixies nicht hätte schreiben können: "I was trying to write the ultimate pop songs, I was trying to rip off the Pixies". Ob es ihm gelungen ist, sei dahingestellt. Fest steht, dass die Pixies mit "Debaser", "Here Comes Your Man", "Monkey Gone To Heaven" und "Where Is My Mind?" Indieklassiker produziert haben. (aus laut.de)

Thanks to dedicated fan Tom Huissen who took his one channel reel-to-reel tape recorder into various London clubs in 1967, these historical performances were captured for all time. Unheard for almost fifty years, John recently obtained these tapes and began restoring them with the technical assistance of Eric Corne of Forty Below Records. Corne adds, "While the source recording was very rough and the final result is certainly not hi- fidelity, it does succeed in allowing us to hear how spectacular these performances are." It's truly an exciting glimpse into music history

In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance.

As Byron Coley writes in the liner notes, "Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was) with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!"

Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as "The Pink Album" for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems "We Are The One" and "The American In Me," while penetrating ballads like "Corpus Christi" reveal a truly out-of-body euphony.

The Pink Album remains The Avengers' definitive statement - collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."

R&B, funk and soul icons Kool & The Gang are returning with a new album release – People Just Wanna Have Fun is out July 14, 2023 on Astana Music Inc. With six decades of hits, the internationally celebrated group continues to tour the world and recently performed on Good Morning America. The band is led by founding members Robert “Kool” Bell (bassist) and George “Funky” Brown (keyboardist, drummer & producer of this album), whose book Too Hot: Kool & the Gang & Me will be released on July 11, 2023. Continuing to release music that makes the good times better and the bad times more bearable, this collection will be the band’s 34th studio album, featuring some of the last studio work by founding horn players, Kool’s brother Ronald “Khalis” Bell and Dennis “D.T.” Thomas, who passed in 2020 and 2021. Lead vocals on the album also include Sha Sha Jones, Shawn McQuiller, Lavell Evans, Dominique Karan, Rick Marcel and Walt Anderson, plus rappers Ami Miller & Ole’. Both Bell and Brown view People Just Wanna Have Fun as a summation of their long career, during which they sold 70 million albums worldwide with hit singles like “Celebration,” “Ladies Night,” “Get Down on It,” “Hollywood Swinging” & beyond. Since their start in 1964, the group has amassed two Grammy Awards, seven American Music Awards, a BET Soul Train Lifetime Achievement Award and star on the Hollywood Walk of Fame. Kool’s bass guitar is even featured in the Smithsonian Museum of African American History and Culture in Washington, DC. From Newark to Nairobi, Kool & the Gang have performed continuously longer than any R&B group in history and are the most sampled R&B band of all time, including by Madonna, Jay-Z, Beastie Boys, Janet Jackson, Cypress Hill and P. Diddy.

A crime is committed on board the Orient-Express. During the journey, Hercule Poirot finds himself surrounded by a group of singular characters, all suspects, each with their own secrets and motivations, as he attempts to solve the murder that has just taken place. The soundtrack was composed by Jean-Luc Briançon (Abigoba, Kurtz Mindfields), assisted by Roman Perreton and featuring a host of guests from Nuage7 Studio. This soundtrack is coloured with mystery, suspense and cinematic atmospheres to take you irresistibly on board this Orient Express to the end of the journey ...

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

Das neue DAMNATION'S HAMMER Album besticht durch unbarmherzigen Heavy Metal und dem für die Band typischen doomigen Groove. Die Band präsentiert sich hier deutlich experimentierfreudiger als auf dem Vorgängeralbum "Unseen Planets, Deadly Spheres".
Erneut von Mark Mynett produziert, baut das Werk auf dem Fundament des Vorgängeralbums "Unseen Planets, Deadly Spheres" auf.
Die Eröffnungssalven "Sutter Cane" und "Do Not Disturb The Watchmaker" sind ein Riff-geladenes Feuerwerk - ersteres fast chaotisch und mit einem kurzen Spoken-Word-Part von Aaron Stainthorpe von My Dying Bride! Dann setzt "Do Not Disturb The Watchmaker" mit seinem schlängelnden Groove ein, bevor es in einen thrashigen Refrain mündet.
Das Album hat immer noch die gewaltigen Riffs, für die DAMNATION'S HAMMER bekannt sind, aber "Into The Silent Nebula" ist abenteuerlicher ausgefallen als sein Vorgänger.
Das Gegenstück zum Titeltrack - einfach "The Silent Nebula" genannt - zum Beispiel, ist ein atmosphärisches, bluesiges Instrumentalstück; ruhig, aber dennoch mit einem bedrohlichen Charakter. Es schließt mit einer trägen, melodischen Basslinie, während Sakis von Rotting Christ aus dem Titeltrack des Albums zitiert.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Big Daddy Mugglestone is back, with his first full-length solo release in over 2 decades! Rumi Sounds is proud to present this collection of songs about Life, Love, and God that really embody the idea of Americana Gothic.

The songs are dark but not bleak, giving a glimpse of forgiveness...even the 12-minute long murder ballad for which the album is named is still a love song.


With a mixed band of Denver and Berlin-based friends, Mugglestone steps out of the shadowy depths to create a record you and yr auntie could listen to while doing the dishes or lounging on the sofa on a rainy day.

The psyche-melodic guitar swirls of Oska Wald and the alluring back-up vocals of MTN GRL elevate his wry croon, not quite country but not quite contrary. Something like if Lee Hazlewood and John Prine both wanted to buy the same vintage lamp...

Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Every once in a while, a library record's absurd level of perfection will be enough to throw up your hands and pack it all in. "How will I ever find this record in the wild?!", you may despair. And, yes, up until now, Michel Gonet's Phasing News Volume 2 was such a work of this ridiculous standard. Not just hyper-rare, but hyper-brilliant. Its high points transcend the "library" genre. This is a record that has always been so so hot on secondary markets. And it's easy to hear why! It's a big big French library classic with mad crazy demand.

Opening with "Mondial Scoop (Number III)", it continues on from where the dramatic tracks of Phasing News Volume 1 left off. The group of "Phasing Percussions" get under your skin, sample material for days here. "Phasing Leitmotive A" and "Phasing Leitmotive B" hypnotise with their analogue synth loops. Yet it's "Phasing March", closing out the side, that is absolutely sensational. Timpani drums merge with open breaks making for an irresistible neck-snapping tour de force.

Side B starts with "Devil Dance A", an unbelievably infectious bass instrumental whilst "Devil Dance B" adds more percussion and bass flourishes and is all the more funky for it.

And now for the main event. "Flower Dance A". What can we even say? An instantly captivating, sparkling keys loop and glittering percussion neatly arranged atop a very strong bassline and drums, all lean and potent. The melody was lifted wholesale by The Soulsavers for "Rumblefish" back in 2002 and you can't really blame them. "Flower Dance B" removes the bassline for a lighter feel but that loop still burrows inside your brain. It's perfect.

"Happy Smith (Number II)" was used by Madlib for Erykah's "My People" (!!!) whilst the set closes out with a group of tense, phased workouts.

The audio for Phasing News Volume 2 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Memory is malleable. The day you met the person you love, what color shirt was she wearing? At precisely what angle did the sunlight strike his face? How exactly did they glow? These little details are precious, but the strange thing is, the more you cherish them, the more they change. Each recollection is another potential touch point where stories can shift—each replay degrades the truth. Reality's rough edges smooth, with time. Objectivity is a myth: cameras and recording devices all contort image and sound. There's no way to know exactly how things were. And yet we still tell the stories, to try to capture how things felt, even though the truth is always slipping through our fingers.

Lemon Quartet's second albumArts Festseems to unconsciously circle this thematic territory. Full of loose, yet lush repetition, it seems to function like memory—each dizzy melody recalling and rewriting what came before, subtly shaping each piece as time passes. Not that they seem especially concerned with the passage of time anyway. They space out, they work in the realm of feelings, scribbling melodious abstractions that feel familiar. Rich with compassion, harmony, and gestures toward ecstatic—if not objective—truth, it's full of the sort of pieces that demand you return to them, but sound a bit different each time, new details overtaking familiar comforts. Are you hearing them for the first time? Or just for the first time in a long time? Either way, drift away, and try to remember…

Das neue Album von BRUJERIA "Esto Es Brujeria" erscheint als limitierte, orangene Doppel-LP mit rot/schwarzem Splatter im Gatefold.

"Esto Es Brujeria" ist die fünfte Full-Length-Veröffentlichung der narco satanicos des Death Metal; BRUJERIA. Mit sechzehn Tracks schließt sich der Kreis zur Post-Pandemie-Ära, in der die tiefe Polarisierung, die zivilen Unruhen, die anhaltende Brutalität und die sozialen Umwälzungen der Zeit reif für die berüchtigten Kritiken der Band sind. Die berüchtigtsten Antihelden des extremen Metals, die von einem dichten Mythos umwoben sind, können jederzeit und überall auftauchen, um ihre Geschichten von anarchischem Chaos und gesetzloser Wut zu erzählen. Sie sind die ewigen Banditen, bereit zum Feiern.

High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.

ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Rina Sawayama commemorates the one year anniversary of her critically acclaimed album 'Hold The Girl' with a physical repressing of the album featuring new artwork.

'Hold The Girl' sees Rina juxtapose intimate storytelling with arena-sized songs for an ambitious and original album that successfully excited fans and critics alike. Reflecting on all that the year has brought her, the physical re-issue and her redesigned tour for Hold The Girl: Reloaded demonstrates Rina's intent to provide a more intimate understanding of her creative process and unique point of view during the creation of the album.

The Faithful Brothers

Soul and R&B from Tel Aviv

"It's so difficult to produce the feel and the excitement of the classic northern sound, but The Faithful Brothers were born to do it and they do it so well." Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio 6 Music.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Sons of an Israeli diplomat, they travelled abroad extensively as children, in the 1960s and 1970s, discovering the wonderful world of rare soul music on the way. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul, that has recorded two albums for the London based label Acid Jazz Records, and toured Europe numerous times.

Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. There the biological Neeman/Faithful brothers would be joined by some of the members of MONC and a few more musical brothers from Tel Aviv to create new, original soul and R&B music. With a nod to the Northern Soul slogan "Keep The Faith", the name seemed too perfect to waste. The fact that the Neeman brothers were collectors, and not musicians, did not bother a man of vision like Yashiv. One day, he sent Johnnie some lyrics he wrote, asking him to compose music for it. Well, Johnnie called Bin, and they met in Johnnie's record room. With Johnnie playing some of the few chords he knew on his dusty old acoustic guitar, out came Teenage Frost, the first-ever musical composition of the Neeman brothers, recorded by MONC.

It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together. The Faithful Brothers – now an eight-piece band, complete with a mighty brass section – release their first album "The Faithful Brothers".

Erstmals und endlich auf Vinyl erhältlich - das Solodebüt des Musikers und Produzenten Tobias Kuhn aka Monta aus dem Jahr 2004. Erscheint als weißes 180g Vinyl im Gatefold-Sleeve. "Wir unterteilen das Leben gerne in künstlich voneinander getrennte Kapitel, sprechen von "Neuerfindung" oder "zweiter Geburt", wenn jemand nun plötzlich etwas scheinbar ganz anderes macht als zuvor. Tatsächlich aber ist das Neue immer schon im Alten angelegt, die meisten Übergänge sind fließend. Nehmen wir zum Beispiel Tobias Kuhn: Natürlich ist Kuhn heute vor allem als einer der renommiertesten und besten deutschen Musikproduzenten bekannt. Kuhn hat mit Clueso, Udo Lindenberg und den Toten Hosen gearbeitet. Man kennt ihn als Produzenten und Co-Songwriter so unterschiedlicher Künstler wie Feine Sahne Fischfilet, Mark Forster, Alec Benjamin, Alice Merton, Noah Kahan, Lost Frequencies, Gurr und Milky Chance, er schrieb für den "Tatort" die Musik, man könnte die Liste endlos fortsetzen. Aber vor dieser Geschichte, vor der Geschichte des Top-Produzenten Tobias Kuhn gab es eben noch eine andere - und wenn man genauer hinguckt, gehören beide untrennbar zusammen. Begonnen hatte sie in Würzburg. Es sind die Neunzigerjahre, Familie Kuhn hatte in Cambridge und in Peking gewohnt und war nun ausgerechnet nach Unterfranken gezogen: Das malerisch gelegene, architektonisch reizvolle Würzburg mag bedeutende Universitäten haben, mit 130.000 Einwohnern knapp als Großstadt gelten und das sogenannte "Herz der Weinregion Franken" sein, als Popmetropole ist die Stadt eher nicht bekannt. Aber natürlich kommt der beste Pop traditionell ja genau aus solchen Orten, aus der Provinz, von den Hochschulen, aus den Fabriken. Eben dort, in Würzburg, gründet Tobias Kuhn mit 15, 16 Jahren die Band Miles gemeinsam mit Gilbert Hartsch zunächst als klassische Schülerband. Der Schlagzeuger Andreas Wecklein und René Hartmann (Bass) komplettieren das Line-up, letzterer wird später durch Nina Kränsel ersetzt. Wie gesagt, es sind die Neunzigerjahre: In den USA initiiert der Sänger und spätere Pop-Impressario Perry Farrell die erste Ausgabe der heute weltweit erfolgreichen Festivalreihe Lollapalooza als grellen Rock'n'Roll-Zirkus und Abschiedstournee seiner Band Jane's Addiction. Das gefällt Kuhn und seinen Freunden natürlich, also schmieden sie in der bayerischen Provinz den einigermaßen größenwahnsinnigen Plan, in Deutschland etwas ähnliches aufzuziehen. Spoiler: es gelingt. Auf diese Weise entstanden drei Alben, bis der Gitarrist ausstieg und irgendwie allen klar wurde: alles erlebt, alles erzählt, mehr geht nicht. Kuhn schrieb sich daraufhin für Medizin ein, doch die Musik ließ ihn nicht los. So begann das zweite musikalische Kapitel im Leben des Tobias Kuhn. Unter dem Namen Monta wendete er sich einem intimeren, Folk-grundierten Ansatz zu und nimmt so zwei Alben auf, deren Veröffentlichung er selbst übernimmt. Bald gab es ein weltweites Netzwerk kleiner Indie-Labels, die die Monta-Musik vertrieben und sogar die "Sunday Times" machte "Where Circles Begin" zum Album der Woche. Und so begann die dritte, bis heute andauernde musikalische Karriere von Tobias Kuhn: die des Produzenten und Songschreibers. Kuhn wäre nicht Kuhn, wenn nicht auch dieser Abschnitt wieder von einer Reihe scheinbarer Zufälle und Begegnungen befeuert worden wäre, die sich eben nahtlos aus allem, was davor war, ergaben." Torsten Groß

Als Carly Simon bei Jac Holzmans Elektra Records unterschrieb, war dies der Beginn einer Beziehung, die auf Vertrauen und gegenseitiger Bewunderung beruhte.

Zur Feier ihrer Zusammenarbeit hat Jac eine Sammlung von Tracks aus Carlys ersten drei Elektra-Alben zusammengestellt, die seiner Meinung nach ihre Zusammenarbeit und den Bogen ihrer Partnerschaft am besten repräsentieren. Mit Erinnerungen von Jac und Carly, herausgegeben von Ted Olson, erforscht diese "Sammelalbum"-Sammlung die Art und Weise, wie ein junges Talent und ein erfolgreicher Labelboss zusammenwirkten, um einen Sound zu schaffen, der die Singer/Songwriter-Bewegung definierte, die mit dem Feminismus der frühen 1970er Jahre zusammenfiel.

Worriers' new album Trust Your Gut is what happens when a queer Springsteen sleeper cell emerges to throw an indie rock house party. It’s the opening scene of Empire Records if it were soundtracked by Frightened Rabbit. It’s about yearning for a better self when you constantly feel neither here nor there. While that isn’t entirely about their gender, it’s absolutely a part of songwriter Lauren Denitzio’s lived experience as a millennial. After Worriers released an album the same week as the 2020 lockdown - and after a history of what can only be described as music industry slapstick comedy - Denitzio rebuilt their songwriting practice from scratch. Armed with a small artist grant, new collaborators, and a lot of time on their hands, Trust Your Gut was written by taking everything apart and putting it back together again. The album was written and arranged with drummer Atom Willard (Against Me!, Angels & Airwaves), pianist Franz Nicolay (The Hold Steady), and guitarist Frank Piegaro who joined the band in 2019. With bass recorded by Allegra Anka (Cayetana) and strings by Ethan Philbrick, Trust Your Gut crafts a world of heart-punching indie rock with pop and folk influences after a career of fierce punk-leaning anthems.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.

Let Me Die Loved is now available in a limited edition white vinyl pressing. Vinyl contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Tewedije Limut gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

Trippie Redd läutet eine neue musikalische Ära mit seinem mit Spannung erwarteten Album ”A Love Letter To You 5” ein. Die Serie, mit der alles im Jahr 2017 begann, ”A Love Letter To You” hebt bekanntermaßen Themen der Liebe durch sanfte Hip-Hop-Flows hervor, die von ikonischen Samples und Beats untermalt werden.

Nach vier Veröffentlichungen in den letzten sechs Jahren ist das kommende Album ein Garant dafür, dass Trippie auf den Tracks zur Höchstform auflaufen wird. Die erste Single ”Took My Breath Away” featuring Singer/Songwriterin Skye Morales und zuletzt die Single ”Last Days” sind ein Vorgeschmack auf das, was noch auf uns zukommt.

Der gefeierte Saxophonist Joshua Redman jetzt neu bei Blue Note Records!

Sein Debüt beim Label trägt die Frage „where are we“ im Titel und ist ein sanftes, stimmungsvolles Werk, das sich von Kitsch jedoch weit fernhält. Die Songtitel geben preis, dass es hier um Amerika geht, und um das, was das heutige Amerika für Redman und die anderen an diesem Album Beteiligten bedeutet.

Ein großer Teil des Albums besteht aus bekannten Jazz- und Pop Standards, die in der Neuinterpretation Joshua Redmans immer wieder ein Gefühl des Neuentdeckens bieten.

„where are we“ ist Joshua Redmans erstes Projekt mit durchgehender Beteiligung einer Sängerin, der großartigen Neuentdeckung Gabrielle Cavassa, die mit ihrer geschmeidigen, lässig-intimen Stimme Akzente setzt, genauso wie Redmans Band aus Pianist Aaron Parks, Bassist Joe Sanders und Schlagzeuger Brian Blade, sowie die Special Guests Nicholas Payton an der Trompete, Kurt Rosenwinkel und Peter Bernstein an der Gitarre sowie Joel Ross am Vibraphon.

[a] A1 . After Minneapolis (Face Toward Mo[u]rning) (Face Toward Mo

Detroit-based duo Ataxia and Mister Joshooa come together on Life and Death with their new EP 'Mastermind'. The record marks a new installation of Ataxia's punk forward house vibe; however, this time the group has their blinders on - this mini album is 100% dance floor oriented, all suited up to scratch the insatiable itch of the worldwide dance
Starting off strong with 'Mastermind', the collaboration delivers from the second we hit play. The A-side maintains similar elements such as a resonant kick and skipping percussive beats masterfully intertwined with vocals that echo and stutter. Record scratches, cowbell, and classic vocal hits can all be found on the B-side, bringing old-school sounds to the forefront with dynamic, rhythmic grooves.

The blues portion of the 1960 Newport Jazz Festival took place on Sunday afternoon, July 3, at the end of the long weekend of jazz performances. The program also included, among others, sets by John Lee Hooker, Jimmy Rushing, Sammy Price, and Otis Spann. Waters' portion of the show includes unforgettable versions of Hoochie Coochie Man, I've Got My Mojo Working, and Tiger in Your Tank.

"The King of Chicago blues at his very best." - ***** AllMusic

'The double Oscar-nominated and multi-award-winning Icelandic composer Jóhann Jóhannsson (1969-2018), known for his film scores for "Arrival", "Sicario", or "The Theory of Everything", was renowned for his innovative and unique blend of classical and electronic elements. With his original, profound, and moving works for film and stage, he achieved worldwide fame and is considered one of the most celebrated film composers of the last decade.“Jóhannsson’s music gives the impression of having arrived in a time capsule from a distant planet that is a mirror image of our own. His own absence now adds further mystery and magic to his music’s unique sound world.” - Gramophone.The monumental orchestral work "A Prayer to the Dynamo," reminiscent of a lost symphony, was inspired by Jóhannsson's great fascination with technology. In particular, he drew inspiration from recordings of electrical installations and generators that he had made at the Elliðaár Power Station in Iceland, which are deeply intertwined with the orchestral sound. Furthermore, he was also captivated by the works of Edison, Tesla, and especially a chapter in the memoirs of American historian Henry Adams (1838-1918). In that chapter, Adams described his impressions of the 1900 Paris World Exhibition and the hidden power of the enormous machines he had seen there. Deutsche Grammophon now releases the world premiere recording of this outstanding orchestral work performed by the Icelandic Symphony Orchestra, conducted by Daníel Bjarnason. The album also includes two suites from Jóhannsson's soundtracks for "The Theory of Everything" and "Sicario", both of which were nominated for Oscars and various other awards, with the former winning the Golden Globe for Best Original Score.

Das neue Live-Album mit dem Titel "Daemonic Rites" ist ein spannendes und intensives Hörerlebnis, das die MAYHEMs Energie und Kraft auf der Bühne einfängt. Das Album enthält Aufnahmen von einer Vielzahl von Städten und Veranstaltungsorten, jeder mit seiner eigenen einzigartigen Atmosphäre und seinem Publikum. MAYHEM haben in den letzten Jahren auf der ganzen Welt gespielt, und "Daemonic Rites" fängt die Essenz ihrer Live-Auftritte auf eine Weise ein, wie es nur wenige andere Alben können.Das Album enthält sowohl klassische MAYHEM -Tracks als auch neueres Material von ihrem 2019 erschienenen Album "Daemon". Fans können sich unter anderem auf mitreißende Interpretationen von Songs wie "Freezing Moon", "De Mysteriis Dom Sathanas" und "Pure Fucking Armageddon" freuen.Insgesamt ist "Daemonic Rites" ein Muss für jeden MAYHEM -Fan und jeden, der intensive, rohe und authentische Live-Musik liebt. Mit seiner globalen Reichweite und seinen kraftvollen Performances ist dieses Album ein Beweis für MAYHEMs bleibendes Vermächtnis als eine der einflussreichsten Bands im extremen Metal.

Weaponize your DJ record bag again with fresh ammo from the Greek studio machine, Aggelos Baltas does it again with another volume of remixes to the Sound Metaphors re-issue catalogues, an invigorating contemporary club touch to a wide range of dance floor material that was originally produced in the early 90s and late 80s. A new patina layer formed by the aging acid baths and chemical reactions of the experienced studio magician. Aggelos' signature atmospheric grandiosity and big room sound once again delivered with precision and high efficiency for the caring modern dancefloor. Can't go wrong.

Sunny Crypt is happy to announce its third release: the reissue of the now elusive Nine Minutes to Cairo - Nine Minutes To Cairo 12”, a mysterious post Cosmic 2- tracker with strong New Beat reminiscences from a one-off studio project. Originally released in 1991 by Westside Music, this reissue brings it back to life with a brand new artwork by Matteo Cerri, full remastering by Manmade Studio and cut at 45rpm for your eventual wrongspeed pleasures.

Nach 27 Jahren im aktiven Dienst werden das Engagement und die Intensität des Trios immer größer, und ihre Popularität und ihr Bekanntheitsgrad steigen weiter an. Mit zahllosen Siegen und Erfolgen unter ihrem gemeinsamen Gürtel sind DANKO JONES eine Band von Brüdern, die wenig zu beweisen haben. Aber was soll's, es gibt immer mehr Leute, für die man spielen kann, und mehr Electric Sounds, die man singen kann.
In den letzten zehn Jahren haben DANKO JONES sichtlich einige Gänge hochgeschaltet. Seit sich Frontmann Danko und Bassist JC mit Schlagzeuger Rich Knox zusammengetan haben, lodert das kreative Feuer der Band heller denn je. Eine Reihe von Alben - Fire Music, Wild Cat, A Rock Supreme, Power Trio - hat zu noch intensiverem Touren und unermüdlichem Einsatz für die Sache des Rock geführt. „Electric Sounds“ ist der beste Beweis, dass selbst eine globale Pandemie DANKO JONES nicht aufhalten konnte.

"Hoffentlich kommen wir mit dieser Platte auf Tour und die Leute kommen", sagt Danko. "Ich bin immer angenehm überrascht, wenn jeden Abend ein Publikum vor uns steht. Ich habe gehört, dass Ozzy sich bis heute Sorgen macht, ob die Leute zum Gig kommen werden, und ich kann diese Einstellung irgendwie verstehen. Aber wisst ihr was? Wir haben gerade in der Wembley Arena gespielt! Das ist ein Häkchen auf der Bucket List. Ich bin stolz darauf, dass diese Band in der Wembley-Arena, im Maple Leaf Gardens, im Moskauer Stadion und im CBGBs gespielt hat. Und wirklich, jedes Mal, wenn wir ein neues Studioalbum herausbringen, ist das unser größter Erfolg. Dieses Album ist Nummer 11 und wir sind schon auf dem Weg zu Nummer 12!"