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- Celebrating 20 years since the release of ‘Neon Nights’
- ‘Neon Nights’ saw Dannii Minogue enter her imperial pop phase, with four consecutive UK Top Ten singles and UK Club Number ones
- The album entered the UK Top 10 and reached Gold Sales
- This picture disc features the Official Bootleg Edition track listing, with 2 key mash-up versions following the trends of the day. The CD+DVD with bonus track, music videos & BBC performances
- Begin to Spin Me Round mashes Dannii’s I Begin To Wonder with Dead or Alive’s Number One hit You Spin Me Round (Like A Record)
- Don’t Wanna Lose This Groove mashes Dannii’s Don’t Wanna Lose This Feeling with Madonna’s Into The Groove, her first formally approved sample usage
- Features new mash-up artwork by Argentinian graphic artist and collagist Molokid

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.

Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).

In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.

Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

Zweite Chancen in der Musik - wie auch im Leben - sind selten. In einem geschlossenen Ökosystem, das darauf ausgelegt ist, erste Chancen zu verhindern, gibt es so gut wie nie eine zweite Chance. Vielleicht weiß das im Jahr 2023 niemand mehr zu schätzen als die Mitglieder von Royal Thunder.

Nach dem Verlust eines wichtigen Mitglieds und dem völligen Zusammenbruch unter der Last des Exzesses hat sich das gefeierte Trio aus Georgia wieder zusammengefunden und meldet sich mit ihrem ersten Album seit sechs Jahren zurück. 'Rebuilding The Mountain' enthält 10 raue und wunderbar melodische Tracks.

Zweite Chancen in der Musik - wie auch im Leben - sind selten. In einem geschlossenen Ökosystem, das darauf ausgelegt ist, erste Chancen zu verhindern, gibt es so gut wie nie eine zweite Chance. Vielleicht weiß das im Jahr 2023 niemand mehr zu schätzen als die Mitglieder von Royal Thunder.

Nach dem Verlust eines wichtigen Mitglieds und dem völligen Zusammenbruch unter der Last des Exzesses hat sich das gefeierte Trio aus Georgia wieder zusammengefunden und meldet sich mit ihrem ersten Album seit sechs Jahren zurück. 'Rebuilding The Mountain' enthält 10 raue und wunderbar melodische Tracks.

Zweite Chancen in der Musik - wie auch im Leben - sind selten. In einem geschlossenen Ökosystem, das darauf ausgelegt ist, erste Chancen zu verhindern, gibt es so gut wie nie eine zweite Chance. Vielleicht weiß das im Jahr 2023 niemand mehr zu schätzen als die Mitglieder von Royal Thunder.

Nach dem Verlust eines wichtigen Mitglieds und dem völligen Zusammenbruch unter der Last des Exzesses hat sich das gefeierte Trio aus Georgia wieder zusammengefunden und meldet sich mit ihrem ersten Album seit sechs Jahren zurück. 'Rebuilding The Mountain' enthält 10 raue und wunderbar melodische Tracks.

Blue Marbled Vinyl

Opening the EP we have a serious sensory treat from Aural Imbalance, as he ditches his own rulebook unleashing a myriad of rapidly combining elements synergising over glorious echoed intro-beats, before an uncharacteristically heavy slice of breaks punches its way into the track, electrifying the atmosphere while the trademark melodies dance above like fireflies in the night.

A2 - Luminosity

An airy intro slowly welcomes in snappy snares, staunch forthright bass tones and those delicious airy pads we know Aural
Imbalance so well for, gradually enveloping the listener in a luscious web of glorious serenity. Layers of intricate textures and rhythms build upon one another, creating a mesmerizing and hypnotic sonic journey inviting repeated listens.

AA1 - Moonscape

Aural Imbalance crafts a true gem here as Moonscape opens with a serene hit of soothing pads before the wonderfully analogue breakbeats join the party, laden with hi hats and subtle poise. The backdrop exudes whimsical birdsong until halfway we are treated to a true earworm melody carrying us through to the clean ritualistic outro.

AA2 - Sunlight Through Clouds

Simon closes the EP with Sunlight Through Clouds, opening with wistful muffled grooves before the bubbly apache break reveals itself and whisks us on a synthful audio feast, built on the immersive, meditative soundscapes he is so well known for. The track has a soothing, reflective vibe and fits perfectly as a curtain call for his latest extended player.

Words by Chris Hayes (Spatial / Red Mist)

Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’.

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.



Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening Since then, it has always been in my mind to be able to record together.”

Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’.

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.



Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening Since then, it has always been in my mind to be able to record together.”

The leader of the European Dancehall/Shatta scene is still as productive as ever after his latest project Mad Ting 2 and a Europe/Latin America tour in 2022. By delivering multiple hits and appearing at major festivals, Blaiz Fayah is starting 2023 the same way he ended the previous year. The hit maker confirms his notoriety through his appearance in mixes played in clubs by the best DJs of the moment. His exponential growth on social networks, especially Tiktok, is also noteworthy.

A few digits: Blaiz Fayah has 850k monthly listeners on Spotify, 36M Spotify listens and 56M views YouTube for his hit "Bad", more than 9 million TikTok videos under the #blaizfayah.

For his upcoming project "Mad Ting 3" scheduled for June 2, 2023, which concludes the "Mad Ting" series, Blaiz Fayah highlights the vast range of his musical references by bringing in Dancehall, Kompa, Moombahton, Reggae, Shatta and Zouk influences.

For the occasion, some of the most renowned artists of their genre have been invited, such as Busy Signal, Jahyanai King and Nesly.

More than a mere sensation, the artist has seduced Dancehall fans all over the world with hits powered by a dancing energy that only he knows the formula. A unique energy that he was able to spread on some of the best European stages in 2022 (Solidays, Garorock) and that he will be able to continue to broadcast during some fifteen European dates in 2023 (Dour Festival, Reggae Sunska, No Logo...).

By collaborating with international DJs for the production of the tracks on his album (Netherlands, United Kingdom, Mauritius, West Indies...), the artist from the Parisian suburbs extends his influence across different international music stages, as shown by the success of his tour in Latin America (Colombia, Costa Rica, Chile...) and in the Indian Ocean (Mauritius, Reunion, Seychelles...).

'Yesterday Today 1999 - 2003' ist die Fortsetzung in der Reihe von Re-Releases der Studioalben dieser Brit Pop-Institution als umfangreiche LP-Boxsets. Hier nun enthalten: 'One From The Modern', das vierte Album der Band. Ein nachdenklicherer, gefühlvollerer und pastoraler Sound sowie eine politischere Botschaft, wenn auch mit einer psychedelischen Note, die an die Byrds, Small Faces oder späteren Beatles erinnert. Das fünfte Album 'Mechanical Wonder' (erstmalig seit 2001 wieder als LP erhältlich) kommt inkl. Tracks wie 'Up On The Downside', 'If I Gave You My Hear' und 'Mechanical Wonder', und ist eine Fortsetzung des beliebten Ocean Color Scene-Sounds. Den Abschluss bildet 'North Atlantic Drift', das zum ersten Mal seit seiner Erstveröffentlichung auch auf Vinyl erscheint. Alle drei enthaltenen Alben wurden in voller Abstimmung mit der Band von Phil Kinrade bei Alchemy Mastering gemastert. Sie erscheinen nun in den jeweiligen Farben Grün, Gelb und Rot in dieser formschönen und optisch ansprechenden Box.

„Emotional Contracts“, das erste Album von Deer Tick seit 2017, ist das bisher kollaborativste Werk der Band und zeigt alle vier Mitglieder in Höchstform. Produziert von Dave Fridmann, bietet die 10 Songs Auftritte von Gastmusiker wie Steve Berlin (Los Lobos) und Hintergrundgesang von Courtney Marie Andrews, Vanessa Carlton, Kam Franklin, Angela Miller und Sheree Smith. Das Debüt von Deer Tick bei ATO Records verleiht ihrer mitreißenden Sammlung von zeitlosem Rock'n'Roll noch mehr Vitalität.

Als Sänger mit einem außergewöhnlichen Stimmumfang (von Bassbariton bis Countertenor), der sich auf der Bühne mit einer New-Wave-Band oder bei einer Purcell-Arie wohlfühlt, mit dem Aussehen eines körperlosen Außerirdischen, der die Massen faszinierte, als Europäer, der aber in New York lebte, war Klaus Nomi ein komplexer und talentierter Künstler. 1979 hatte David Bowie, der damals gerade in seiner Berliner Zeit war, wie üblich vor fast allen anderen das aufkommende Phänomen wahrgenommen. Platin- und Goldplatten, ekstatische Konzertsäle, eine faszinierte Modewelt: Klaus erlebte zwischen '79 und '82 einen meteoritenhaften Aufstieg. Anlässlich des 40. Todestages von Klaus Nomi veröffentlicht Sony Music / Legacy seine gesamte offizielle Diskografie neu: Seine beiden Studioalben "Klaus Nomi" und "Simple Man" als Digipack-CD // Sein Album "In Concert" von 1986 zum ersten Mal als Digipack-CD // Sein Album "Encore" von 1986 zum ersten Mal als Digipack-CD. // Seine Kompilation "Encore: Nomi's Best" zum ersten Mal als CD Digipack und wieder auf Vinyl // zudem eine wunderschöne, limitierte 4LP Deluxe Box inkl. exklusive «In Concert-LP»

‘Anomie’ draws on Latin, Classical and Middle Eastern cultural influences to create a beguiling collection of meticulously crafted deep house club cuts whose seductive power is impossible to resist. A bewitching sonic encounter that clarifies exactly why NOCUI is fast becoming one of Berlin’s most talked about rising producers in 2023.

Delve into the Dutch jazz scene of the 1950s and 1960s with a selection of classic and rare hard bop and cool jazz tracks from artists like Herman Schoonderwalt, the Diamond Five, Wessel Ilcken and Tony Vos. Holland never sounded this hip before!

"Jazz is garbage and a caricature of the modern orchestra; it is garbage arranged by half-grown musicians for the benefit of common entertainment." In spite of the Dutch cultural establishment's attempts to preclude jazz - as illustrated by this citation from the October 1926 issue of music magazine De Muziek - The Netherlands was one of the earliest adopters of the new music style as it came over to the Old Continent at the end of World War I.

Delve into the Dutch jazz scene of the 1950s and 1960s with a selection of classic and rare hard bop and cool jazz tracks from artists like Herman Schoonderwalt, the Diamond Five, Wessel Ilcken and Tony Vos. Holland never sounded this hip before!

"Jazz is garbage and a caricature of the modern orchestra; it is garbage arranged by half-grown musicians for the benefit of common entertainment." In spite of the Dutch cultural establishment's attempts to preclude jazz - as illustrated by this citation from the October 1926 issue of music magazine De Muziek - The Netherlands was one of the earliest adopters of the new music style as it came over to the Old Continent at the end of World War I.

Diese 10-Track-LP ist eine umfassende Geschichte von 43 Jahren Star Trek-Musik von der Original-TV-Serie von 1966 bis hin zu J.J. Abrams' kinoreifem Blockbuster-Neustart. Die Musik von Star Trek steht im Mittelpunkt der Legende – mysteriös und majestätisch, geschrieben von einigen der angesehensten Komponisten der Welt, darunter Größen wie Jerry Goldsmith, James Horner und Alexander Courage. Blaues Vinyl.

June 16th 2023 sees the long overdue vinyl re-issue of Coldplay’s Prospekt’s March EP, the 2008 companion piece to their fourth number one album, Viva La Vida Or Death And All His Friends.

Featuring a selection of new (at the time) tracks, a re-work of Lost: Lost+ with Jay-Z and a remix of album track Lovers In Japan.

Pressed on 140gm, black recycled vinyl, housed in a 4-colour outer sleeve and printed inner sleeve, featuring a matt dispersion varnish.

High Roller Records, reissue 2023, black vinyl, ltd 200, insert, Audio mastered and restored by Patrick W. Engel in September 2021

High Roller Records, reissue 2023, white vinyl, ltd 200, insert, Audio mastered and restored by Patrick W. Engel in September 2021

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

Since the release of Surprise Chef's 2022 album, Education & Recreation, they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with. Releasing three albums and a string of successful 7" singles since 2019, their output is nothing short of prolific and they show no signs of slowing down with the announcement of their new Friendship EP. Friendship is a six song 12" EP recorded during the Education & Recreation sessions that stands as "a humble monument to the most crucial principle of our band: that the love we share for one another is, at all times, the most important thing".

Surprise Chef holed up for a marathon of a recording session and laid down more tracks than would fit on an album. Here now, we dig in the vault from those sessions and share some absolute gems. The EP opens with "Rosemary Hemphill", a nod to David Axelrod that takes the listener through a myriad of musical changes and moods in proper cinematic soul fashion.

"Friendship Theme" is a bouncy and energetic number with an infectious and driving clavinet topline that is sure to move dancefloors around the globe. "Over The Moon" is pure mood music that puts Surprise Chef's restraint and tasteful use of space front and center while "Spiky Boi" is a frantic upbeat number drenched in percussion and keyboards.

SC have a heavy touring schedule for the rest of 2023 and will be finishing up the recording of their next album which is due out in 2024 in between runs. UK shows: May 29 Pink Room - Manchester, May 30 Village Underground – London. Also Available From Surprise Chef: Money Music 7", Education & Recreation LP / CD, Velodrome7”

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Streng limitierte Stückzahlen!

"Nobody wants to live a life that is disposable," says Taylor. "Everybody wants their life and their time to mean something, and I think in our daily lives, there's a choice that can be made to do small things every day so that you really do feel like, 'hey, my life has value." The title and the record's lyrics are partly a reframing of the average human experience. Modern culture has convinced us that a 'normal' life is unremarkable, but this paves over the beauty inherent in routine relations. "Everyone looks at their experience as like, 'I want something more," explains Taylor. "But any conversation that you have with anybody, there are things that you can pull out, or walking somewhere and just looking around and being alive- There's a lot of meaning to me in that, even if you go for a two block walk." The songs on Disposable Life came from ideas Taylor workshopped with lead guitarist Kevin Maida.

When the band gathered again post-pandemic restrictions, the goal was simple: write songs and hinish them without any external end goal. Between December 2020 and February 2021, the band wrote and demoed four songs before recording in Crown Point,

Indiana at longtime collaborator and producer Seth Henderson's Always Be Genius Recording Studio. Vince Ratti (Circa Survive, The Wonder Years) mixed the EP and Kris Crummett (Dance Gavin Dance, Mayday Parade) mastered.

A tale of two Indians recorded in Cologne, Stockholm & Berlin.
Anurag Choudhary & Pawas Gupta are Non Solo.
Friends from more than two decades, these gentlemen decided to bring together their knowledge of music at Anurag's apartment in Stockholm back in 2008. Anurag’s life journey took him to Stockholm,
Sweden and Pawas’ culminated in Berlin, Germany; both cities a cultural and a musical powerhouse in their own right. Anurag, a professionally trained Flautist (bamboo Flute or “Bansuri”) in the traditional Hindustani Classical Music and Pawas, someone who has been exploring the realms of electronic music since 1997 as a DJ and releasing records under different monikers since 2007 decided to bring in their forces on a gloomy Stockholm afternoon.

You may ask, why Non Solo? Well, for obvious reasons!
In traditional Indian classical music you are trained as a soloist, mastering a single instrument and each instrumentalist has a deep understanding of the common syntax and rules of engagement that produce some brilliant duets. Both Anurag and Pawas have been pursuing their solo music careers and mastering their craft. However, ‘Non solo’ brought these two (soloists) together to collaborate on something that has not been done before in this way so two soloists coming together and forming NON SOLO.
It all started over a “Fika” which translates to “ a concept, a state of mind, an attitude and an important part of Swedish culture. Many Swedes consider that it is almost essential to make time for fika every day.
It means making time for friends and colleagues to share a cup of coffee (or tea) and a little something to eat” in Anurag’s favourite Cafe, not to forget his exquisite palette for Coffee. After a short brainstorming on how to create something new and fresh without it being too cliched and with the help of impeccably roasted coffee beans that were freshly brewed, the men decided to jam it out to see where this goes.

The first attempt resulted in the second track on the record “Svar” which means “note or tone” which was a one take track. Motivated and excited, they both decided to continue working on this project.
A few months later Anurag visited Pawas' previous Studio in Cologne to record, where Sarang, Tandav and Bhoop were born. Even though the creation had happened, they felt it wasn't the right time to put
it out there just yet. However, time flew by and after almost 14 years of waiting, the men came back to what they had created and decided it was now the time to release it.
The title track “Sarang” is inspired by raga Brindavani Sarang, where Anurag infuses the romantic and mystical flavour of this raga with his flute and Pawas brings his deep repertoire of electronic grooves and
atmospheric sounds to create an intelligent track that touches the listeners.
Svara is inspired by raga Hansadhwani (translated ‘svan song’ or ‘sound of swan’) is an endearing melange of Indian classical and house music.
Tandav is a high energy track based on a variation of Sarang raga. With Pawas’ in-depth knowledge of both Indian classical percussion and electronic music….. This track combines multiple rhythmic layers
manifesting in one exhilarating track that is filled with polyrhythmic cadence and interludes.
Bhoop is melancholy and nostalgia infused into one melodious offering inspired by raga Boopali laid over a bed of organic drums and bass.

The Feel:
Svara is falling in love, the feeling you get when you are walking after that first wonderful date, smile on your face and so much anticipation and joy in the heart for all that excitement that is about to come.
Sarang is being in love, when you start to experience all those emotions you didn’t know even existed inside your heart. It is a complete journey.
Bhoop has a tinge of melancholy, longing and missing each other , while Taandav is coming back together after a long time away from each other. Re-discovering each other and re-experiencing all those
emotions at an even deeper level and celebrating the togetherness, be it in friendship or relationship.
Non solo is first in its kind to bring the melodious/musical depth inspired by the raga traditions to the exhilarating rhythmic world of deep house and electronica.
Available now in your favourite digital store and on limited edition Vinyl with an exquisite typographic artwork by Shantanu Suman in collaboration with Masala Movement's Manoj Kurian!

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Beck’s car accident and Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder’s Detroit Wheels) and singer Rusty Day from Ted Nugent’s Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue.

Cactus is available as a limited edition of 1000 individually copies on translucent red coloured vinyl.

The Marshall Suite is the 1999 album by the Fall. The album builds on the techno-influenced beats of its predecessor Levitate, while also returning to a more rockabilly-influenced sound reminiscent of earlier Fall line-ups with songs such as the catchy “Touch Sensitive” and the strange, complex, thumping jungle beats of “The Crying Marshal”.

The Marshall Suite was made immediately after an American tour during which Mark E. Smith had an onstage fight with members of the band and was arrested following ongoing altercations at the hotel at which the group were staying. While the remaining band members quit and returned to England, leaving Smith in a cell in Manhattan, Julia Nagle chose to stay in the band, helping to assemble the group’s new line-up.

During the recording of the album, this new line-up was still taking shape and the album features two different bassists. None the less it was very well-received album at the time and highly collectible by now.

In the five years since Creep Show’s acclaimed Mr Dynamite album was released it’s fair to say that we’ve all been through a fair bit. Sitting here, in 2023, things don’t seem to be getting any better. There’s the cost of living crisis and political meltdowns; we're in deep water with global warming and to top it all there’s a war on our doorstep.

Back in 2018 everything seemed less complicated. Sure, there was stuff to get riled about, but we knew nothing about what was to come. Mr Dynamite was a fairground ride into the dark corners of a world that was on the brink of being blitzed in a blender. It was a record teetering on the edge. Five years down the line you’d expect the follow-up, Yawning Abyss, would double-down and bring the white-knuckled, teeth-gritted fury of the last five years to the boil. And yet….

A quick recap? No problem. Wrangler + John Grant = Creep Show. And Creep Show? “A band of musical misfits who have found a voice or two”, says Wrangler’s Ben “Benge” Edwards, whose Bond villain studio on the edge of a moorland is Creep Show Grand Central as well as home to an analogue synth arsenal that could sink ships.

Wrangler have known each other for a while. Tunng’s electronics wizard Phil Winter and Cabaret Voltaire’s trailblazing, pioneering frontman Stephen Mallinder go way back, while Phil and Benge crossed paths in the 21st century when they seemed to be increasingly in the same venues at the same times. Meanwhile, Mal had been living in Australia since the mid-90s and when, in 2007, he returned to the UK his old pal Phil suggested he meet Benge and the three of them immediately began working together.

Wrangler collectively bumped into Grant at their soundcheck for Sheffield’s Sensoria Festival in 2014 where they were playing with Carter Tutti. A friendship blossomed and when they were invited to perform together for Rough Trade’s 40th anniversary show at London’s Barbican in 2016, well, they jumped at the chance... and Creep Show was born.

Let’s talk about the new album... What is the ‘Yawning Abyss’? You might well ask. According to Mal, it’s “a cosmic event horizon that I can see from my attic window when stand on a chair”. Yeah. Thanks.

“On this album”, offers Benge, feet firmly on the floor, “Wrangler wrangled some vintage synths, mostly Roland, Moog, and the ‘Crystal Machine’ - then John Grant joined in the fun at Memetune Studios where lots of musical experiments were carried out. Then Mal and John ran off to Iceland with the master tapes and recorded a load of madcap vocals. Back at Memetune, me and Phil were left to try and make sense of it all. Which wasn’t hard because what they did in Iceland was totally magnificent.”

Which kind of brings us back to where we began. You’d imagine ‘Yawning Abyss’ would be blowing steam out of its furious ears. Mr Dynamite but kicking a wasps nest. Repeatedly. And yet…

Opener ‘The Bellows’ comes on like a modular ‘Radio Ga Ga’, the singalong ‘Moneyback’ (“You want your money back? / I didn’t think so”) sounds like Godley & Creme’s ‘Snack Attack’ meets Prince Charles And The City Beat Band (“Pennies, pounds, dollar bills, signed agreements, death wills”). ‘Yahtzee!’ is an unhinged electro breakdance party in four minutes and nine seconds.

Where Mr Dynamite was menace, a mélange of mangled voices, with Grant and Mallinder being heavily treated, pitched up or down, rendering their contributions largely indistinguishable, Yawning Abyss takes a more direct approach. You hesitate to say feelgood, but there’s a skip in the step here for sure.

The title track plays John Grant’s vocal straight. Completely. It’s good, so very good. Like ‘Axel F’ covered by Vangelis. The delicious shimmering synths of ‘Bungalow’ also plays those Grant pipes with a straight bat. ‘Matinee’ delves into darker, very funky territory. With Mal upfront it comes on like ‘The Crackdown’. Choice lyric: “You are starting to breakdown / And it’s so fun for me to see / You should have thought of that / You should have come prepared / You can see what’s happening and you look a little scared”.

So, you know, not all feelgood. But it does feel good. It’s probably best to draw your own conclusions... This is Creep Show after all.

Das neue Album „AftërLyfe ‘‘ des Rappers Yeat erscheint auf Vinyl. Der aus California stammende RageRapper feierte im Februar das Release seines dritten Soloalbums nach „Lyfë ‘‘, auf welchem Features wie Young Thug, Gunna Lil Uzi Vert vertreten waren. Der Artist zeichnet sich durch seine energiereiche Art zu rappen, Rockstar-Attitüde und verchiedene Flowwechsel aus. Sein Hit „Monëy so Big’’ aus dem Jahre 2021 hat mittlerweile sogar Platinstatus! Fans dürfen sich freuen.

”Peace...Like A River”, das 12. Studioalbum der Band und der Nachfolger ihres chartstürmenden und Grammy-nominierten Blues-Albums ”Heavy Load Blues”, wird am 16. Juni 2023 über Fantasy Records veröffentlicht. Die 12 Songs umfassende Rocksammlung enthält auch Gastauftritte von Billy Bob Thornton, Celisse und Billy F. Gibbons, der mit Haynes am vergangenen Sonntagabend bei den CMT Music Awards eine unglaubliche Hommage an Lynyrd Skynyrd darbot. Zusätzlich enthält die ”Peace...Like A River” Deluxe Edition (nur auf CD erhältlich) das 12-Track-Originalalbum plus die spezielle 5-Track ”Time Of The Signs” Bonus EP, die vier brandneue, unveröffentlichte Tracks und eine alternative Version des Albumtracks ”The River Only Flows One Way” enthält, bei der Warren die Lead Vocals übernimmt.

Silver marble vinyl, limited to 300 copies. Handnumbered, 180g. Australian vocalist Jo Lawry has forged an impressive solo career with a global fan base, while earning deep respect as a "musician"s singer" within and beyond jazz circles. She"s also spent nearly a decade performing and recording with Sting and has worked with Paul Simon and Peter Gabriel. The two albums she released as a singer/songwriter/producer, Taking Picture (2015) and The Bathtub and the Sea (2017) garnered critical acclaim. Now, more than 10 years since her last solo jazz album, Lawry presents "Acrobats", unequivocally returning to the genre alongside globally in-demand bassist Linda May Han Oh and versatile drummer Allison Miller.

This new pressing of bassist Leroy Vinnegar's first album as a leader Leroy Walks! Is released as part of Acoustic Sounds celebration of Contemporary Records. Originally released in 1958 the album sees Victor Feldman, Gerald Wilson, Teddy Edwards, Carl Perkins, and Tony Bazley joining Vinnegar. Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Frisch nach ihrem Vertrag mit From The Vaults kündigen die epischen Doom-Metaller ALTAR OF OBLIVION die Veröffentlichung der EP "Burning Memories" an. Die fünf Tracks wurden 2016 aufgenommen, kurz nach der Fertigstellung der dritten Full-Length der Band. Nun, sieben Jahre später, ist die EP endlich bereit, das Licht der Welt zu erblicken. Auf ihr beschwört die Band klassischen, zeitlosen Epic Doom Metal herauf, während sie gleichzeitig unter der düsteren Ägide dieses nordischen Kollektivs Neuland erkundet. "Epic Doom ist kein Subgenre, an dem sich viele Bands auch nur versuchen, geschweige denn darin brillieren, geschweige denn es ausbauen, daher verdient der Fünfer aus Aalborg ein großes Lob dafür, dass er diesem tiefgründigen Außenseitersound neues Leben einhaucht.

Mit der frostigen Melancholie von Candlemass, der mystischen Dramatik von Solitude Aeturnus und der barbarischen Kraft von Solstice mischen AOO neue Ebenen emotionaler Verletzlichkeit durch den Robert Smith-ähnlichen Gesang von Mik Mentor und verlieren sich nie in schleppender Düsternis, sondern bewahren die traditionellen Metal-Grundlagen mit einer starken, klaren Gesangslinie, einem kräftigen Galopp und einer packenden Melodie" Chris Shantler (Metal Hammer UK).

The next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer & multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums &-counting flagship ensemble. Joining the core NIS of Abrams (guimbri & bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) & Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman & Ben Lamar Gay (cornets), Nick Mazzarella & Mai Sugimoto (alto saxophones & flute), Kara Bershad (harp) & Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio & The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. 2xLP on Eremite USA, 2xLP & CD on Aguirre/Eremite Europe. Out 14-04.

Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group’s conceptual underpinnings, its musical references & the sheer number of the group’s members. Its music is, in a sense, an expansive form of minimalism, based in repeated & overlaid rhythmic patterns, ostinatos & modality. Its roots, its scale & its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams’ guimbri at its core, the version here can stretch to a tentet, including six horns.

Abrams has been expanding his minimalism gradually, but he has long understood a key to minimalism’s potential: the breadth of its roots in the late 1950s & early 1960s, ranging from the dissatisfaction of young European-stream composers with the limitations of serialism to the simultaneous dissatisfaction of jazz musicians with the dense harmonic vocabulary of bop & hard bop. The former began exploring rhythmic complexity & narrow tonal palates in place of harmonic abstraction (Steve Reich’s Drumming, Philip Glass’ Music with Changing Parts; perhaps above all Terry Riley’s In C & his late ‘60s all-night organ & loop concerts); the later reduced dense chord changes to scales (signally with Miles Davis' Kind of Blue, but rapidly expanding with John Coltrane’s vast project). In the 1950s the LP record opened the world with documentation of Asian & African musics, key influences on both minimalists & jazz musicians. If John Coltrane’s soprano saxophone suggested the keening shehnai of Bismillah Khan, the instrument was rapidly taken up by two key minimalists, LaMonte Young & Riley, similarly appreciative of its flexible intonation, the same thing that kept it out of big bands.

If the guimbri, the North African hide-covered lute that Abrams plays with NIS, involves a rich tradition of hypnotic healing music associated with the Gnawa people, Abrams’ music also touches on other musics as well — other depths, memories & healings, different drones, rhythms & modes. As the group expands on Since Time Is Gravity, he has made certain jazz traditions in the same stream more explicit as well. If there is a mystical & elastic quality involved in the experience of time, both in direction & duration, you will catch it here. The parts for the choir of winds expand on the roles of Abrams’ guimbri, Mikel Patrick Avery & Hamid Drake’s percussion & Lisa Alvarado’s harmonium: at times, the winds are almost looping in the tentet version, each hitting a repeating note in turn, at once drone & distinct inflection on temporal sequence. The brilliance of the work resides in Abrams’ compositions, the NIS’ intuitive execution & in Ari Brown’s singular embodiment of the great tenor saxophone tradition, including the oracular genius of Eddie “Lockjaw” Davis, & Yusef Lateef. The three pieces by the expanded NIS featuring Brown —the opening “Moontide Chorus” & “Is” & the ultimate “Gravity”— have an immediate impact, & togther might be considered a kind of concerto for tenor saxophone. Here Brown presses almost indistinguishably from composed melody to improvised speech, getting so close to language that he might have a text. Everything here is a sign. Note the tap of the Rhythm Ace that links “Moontide Chorus” to “Is”, the attentive heart always present, even when signed by a machine. There’s a link here to the methodologies & meanings of dub music & the linear & vertical collage of beats, textures & tongues: treated with reverence, a sample of a beat-box can be as soulful, as hypnotic, as a mbira or a tamboura. If those pieces with Brown are heard as a suspended concerto, the three embrace & enfold the other works, like the sepals of a flower. That placement will also touch on the mysteries of our perception of time.

Particularly in “Is”, but elsewhere as well, a phenomenon of transcendence arises in which time appears to be tripartite, at once moving backwards & forwards & standing still. This is an act of technical brilliance certainly, but also an illumination of music’s ability to represent temporal consciousness through polymetrics. This particular listener has only heard it before in a few places, including the horn shouts & bowed basses of Coltrane’s Africa, in moments of Charles Mingus’ The Black Saint & the Sinner Lady, in certain pieces where tapes were literally running backwards, & earlier still in Dizzy Gillespie’s Cubana Be, Cubana Bop, in which the composer George Russell & conguero Chano Pozo found a music that spoke at once in the voices of Stravinsky’s Rite of Spring & the vestigial rites, rhythms & songs of the Yoruba language & Santeria religion of inland Cuba.

In Joshua Abrams’ compositions & the realization of them by the NIS, in the time of one’s close listening & memory thereof, distinctions between the “natural” & the “social”, the “quotidian” & the “transcendent” are erased, suspended or perhaps irrelevant. Consider two of the ensemble pieces, one named for nature, the other social science. In “Murmuration” the repeated wind figures of flute & alto saxophone combine with the interlocking patterns of harp, guimbri & frame drum (tar) to create a perfect moving stillness, not an imitation but a witness to the miracle of the starlings’ astonishing collective art, a surfeit of beauty that might be the ultimate defense tactic.

“Stigmergy” takes its name & concept from the Occupy movement’s Heather Marsh, who proposes a social system based on a cooperative rather than competitive models, one in which ideas are freely contributed & developed as ideas rather than an individual’s property. In its form, Abrams’ “Stigmergy” is the closes thing to traditional jazz, a series of accompanied solos by each of the wind players. However, the composed accompaniment is a radically collectivist notion: a repeated rhythmic figure, call it ostinato or riff, in which the different winds each play only a note or two of the figure, a concept both more collectivist & individualistic in its conception than any typical unison figure. It suggests another of the underlying recognitions that propel the Natural Information Society, the group as social organism, the teleology of hypnotic anarchy, all parts in place, functioning systematically, evolving & expressing itself, its nature & society, as a transformative organism.

George Lewis has described music as “a space for reflection on the human condition”. This suggests that, rather than a “distraction”, at least some music might serve as a distraction from distraction. It’s a focus, a clarity, a awareness, an external invitation to interiority, as if music itself is a model for form & contemplation, an organism contemplating for us or as us. If that is a possibility, & I am sure I have heard such musics, than this music is among them. How many of our rhythms, melodies & harmonies (cultural, historical, biological, psychic) might such music carry, translate & transform in the particulate ecstasy of our own murmuration? (Stuart Broomer, April 2022)

"To think, this all started with Posture, a record done with some minor misunderstandings in play. Primaruly due to the language barrier between Arturo Banbini and I. To now a fully conceived project, unbelievable and simply God's work. To be honest, I wanted to pay homage to one of the greatest album I've ever heard (Tapestry, Carole King). A Rose to you, you've been nothing short of an inspiration to my music."

On June 16th, 2023, Steven Julien and Kyle Hall return with their first EP together in ten years, CROWN. The record follows earlier EPs the duo created under their former alias Funkinevil, 2013's Ignorant and 2012's Night/Dusk. The record once again brings together two artists from opposite sides of the pond—Julien hailing from London and Hall representing Detroit—with a shared love for soul in its purest essence.

Opening "Page 1", a pitched-down vocal by James Massiah pronounces, "My plan—won't let you take it from hand." That alone could be considered the nut graph of a record about taking ownership, created by two vanguards in the electronic music scene that, a decade ago, insisted on infusing their music with soul in a commercial club circuit lacking in it.

Assembled from a few years-worth of studio jams in Julien's studio, Crown dials up the staticky warmth present on earlier Funkinevil tracks like "Dusk" and "In The Grid." Across seven songs, Funkinevil shaves off some of their tougher elements, instead shooting for pastoral melodies and funky basslines, like on "Page 2", where Vicky Flint's flute flutters sleepily over breaks and a groovy Korg synthesizer. But the atmosphere on the EP is also grander than ever—on "Page 5," Cloud's wistful melisma soars over Flint's bleating saxophone and wandering sci-fi synths.

With all this attention to funky musicality, it's only fitting that two legends specializing in the craft would land on the B-side—Däm Funk revs up "Page 3" with a slamming kick and his unmistakable coolness, and Reggie B turns "Page 5" into a sludgy, jazzy dance party.

In the words of Julien, "I think a lot of people have forgotten about what this whole thing is about. Musically, artistry and everything. So I'm happy this is what we represent on this project."