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"On August 26, 1965, we find John Coltrane and his quartet recording at RCA Victor Studios on 24th Street in Manhattan. In the tunes tracked for Sun Ship, we hear Coltrane revisiting ground he had covered in the past with heightened sensitivity and a deepened interest in timbre. Sun Ship is a portrait of Coltrane’s most important band during his most important year, and while it’s sometimes overlooked in Coltrane’s discography — probably because it was released posthumously — it’s a crucial document for understanding what this band had accomplished, and it also offers a glimpse of why Coltrane moved beyond it. He needed to be in places where he was less sure of himself."

“The Coup’s second album, 1994’s Genocide & Juice, was an emboldened level-up from their first full length. While early Coup material had moments that blossomed on later efforts, Genocide & Juice was where those ideas deepened, becoming more pronounced as their catalog grew. Production wise, it’s replete with colorful samples, thorough skits and big bass, a perfect intersection of ’90s sample-based ingenuity and West Coast funk.

Genocide & Juice is mainly two things: neighborhood tales and unapologetic worldviews bound with fisted activism — made by the group’s core members at the time — Riley, Pam the Funkstress and E-Roc. But there are voices and sound effects woven throughout that give it more texture. Killer production that was able to sound both clearly professional while retaining its edge. At a concise 14 tracks, this album is one of the best sophomore efforts by any group, in any genre.”

“Anchored by seamless jam sessions and syncopated grooves, which Neville would call ‘tight, sparse and funky as the fuckin’ devil,’ The Meters evolved from unfussy, mostly instrumental tracks to full-throated, expansive funk that reached an apex on their fifth album, Rejuvenation, in 1974. With deep-fried grooves, astounding musicianship and a reverence for their history both in New Orleans and in Africa, this album has only felt more vital with age. While it didn’t sell as many copies as the record deserved at the time, it’s a product of these band members’ years of hard work gigging in sweaty night clubs, backing up other artists as session players and persevering through a thankless industry. Above all, it’s a testament to New Orleans.”

10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Following a run of chamber recordings, Samuel Reinhard returns with a suite of electroacoustic collages.

"Movement", the New York–based composer’s latest offering, is built from notes softly held. In his ongoing investigation of musical duration, perception, and attention, Reinhard deemphasizes progress through an embrace of repetition and negative space, inviting listeners to linger in time. Instrumental recordings are arranged according to a predetermined system, iterating fragments of sound in overlapping intervals of various sizes. Delicately layered snippets of decaying piano are joined by cello (Leila Bordreuil), bass flute (John Also Bennett), double bass (Vincent Yuen Ruiz), baritone sax (Michael Biel), and harp (Shelley Burgon). This breadth of instrumentation, arriving as individual notes stretched and overlapped, is treated not as an opportunity for immersive coalescence, but rather a gentle augmentation of texture, free-floating counterpoint. Notes are accompanied by the traces of the bodies and actions that produce them: a hand pressing a key or an arm keeping a bow aloft; breath filling an instrument’s body or glancing off its surface; a string vibrating and then softening to stillness. In sum, we hear resonance in the process of being sustained, as well as in the release that follows.

DE MANNEN BROEDERS ist die erste Zusammenarbeit feat. Colin van Eeckhout und der flämischen Folk-Ikone Tonnie 'Broeder' Dieleman aus Zeeuws.
Ersterer ist der Frontmann der belgischen Post-Metaller AMENRA, einer Band, die für ihre überwältigende Härte in Sound und Gefühl bekannt ist.
Letzterer ist ein holländischer Folksänger, dessen Musik von der Kultur seiner seeländischen Heimat inspiriert ist und der bereits mit Baby Dee und
Bonnie Prince Billy zusammengearbeitet hat. Als die beiden sich trafen, spürten sie sofort eine Verbindung.
Das Ergebnis ist das 9-Track-Album Sober Maal (was übersetzt 'nüchternes Mahl' heißt und sich auf die Praxis bezieht, eine einfache Mahlzeit zu
essen, um Dankbarkeit zu üben), das unter dem Namen DE MANNEN BROEDERS veröffentlicht wird. Es wurde in weniger als fünf Tagen in der
Doopsgezinde Kerk aus dem 18. Jahrhundert in Middelburg in den Niederlanden geschrieben und aufgenommen.
Klanglich ist Sober Maal eine eindringliche, emotionsgeladene Reise, die sich in einer vergangenen Welt verwurzelt fühlt, aber dennoch völlig
eigenständig klingt und eine melancholische, aber dennoch hoffnungsvolle Note hat. Der Gesang von Colin und Tonnie verschmilzt mit dem Chor und
einer sparsamen Auswahl an Instrumenten, darunter ein Banjo, ein Klavier, eine Drehleier und die mächtige Zentralorgel - alles vermischt mit den
Klängen und dem Echo der Kirche.

* After the stunning success of their critically-acclaimed third album Sharpener, which reached number 3 in the jazz charts and number 14 in the independent music charts, London’s brass juggernauts Hackney Colliery Band blaze back onto the scene with their first collaborative album, ushering in a whole new era for the band.

* Featuring collaborations with a host of key names in jazz and world music including amongst others the father of Ethio-jazz Mulatu Astatke, British jazz funk legend James Taylor, trombonist Dennis Rollins, UK saxophonist Pete Wareham and Beninese singer-songwriter and Grammy Award-winner Angélique Kidjo, Hackney Colliery Band have effortlessly transformed their explosive live energy into 11 original recordings that push the groove and form in an accomplished manner.

*On ‘Collaborations: Volume One’, writers Steve Pretty, Olly Blackman and Luke Christie have between them penned the outfit's most dynamic material to date. ‘Mm Mm’ (feat. Angélique Kidjo and Roundhouse Choir) merges Beninese grooves with wah pedal trumpet textures, and the rousing call-and-response between Kidjo’s soaring vocal and the exhilarating choir adds a richness and depth to the composition.

*On ‘Snowfire’, innovative Norwegian pianist Bugge Wesseltoft brings a euro/nu-jazz feel to the album, while Dennis 'Funkybone' Rollins adds his trademark virtuoso trombone to the carnival-flavoured ‘Ricochet’.

*There’s an energy, respect for tradition and the exuberance of London in Hackney Colliery Band’s work, best exemplified in the evocative and downright thrilling James Taylor collaboration ‘Hypothetical’, with Taylor’s Hammond organ recalling the Acid Jazz era in which he made his name.
*New single ‘Netsanet’ (feat. Mulatu Astatke) is a deep exploration of Mulatu's trademark Ethio-jazz, while ‘Crushing Lactic’, composed by Tom Rogerson (fresh from a recent collaboration with Brian Eno) has a frenzied flow, with big horns and driving rhythm section.

*Elsewhere, Pete Wareham (stalwart of the London jazz revival) lends his free-flowing sax to ‘What’s Gone Before’, leading us into a powerful communion of jazz and brass as Mulatu Astatke’s ‘Derashe’ takes the listener down a vibrating rhythmic path while accompanied by blasts of horns and Mulatu’s trademark vibraphone.

*Two spoken word compositions (‘Why Yellow’ and ‘Climbing Up My Own Life Until I Die’) featuring York born writer and comedian Rob Auton lend an introspective voice to ‘Collaborations: Volume One’.

*A band never content to rest on its laurels, Hackney Colliery Band already have a number of collaborations in the works for ‘Volume Two’, and with further live shows planned for 2019, including the album launch at the famous Ronnie Scott’s Jazz Club, 2019 looks set to be HCB’s biggest year yet, both live and on record.

* Steve Pretty, the band’s frontman said: “It’s hard to believe that 2019 is our tenth anniversary, but now we’re ten years older it felt like the right time to get back to our jazz roots. It’s been such a privilege to work with so many of our musical inspirations both old and new on this record, and we’re super excited to be ushering in the next ten years with this new collaborative spirit: this is called ‘Volume One’ for a reason…”

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

Courtesy Of Balance is the tasteful house label run by Brawther and it was back in 2019 in Lviv during an underground warehouse party that he first made contact with Laconica label founders Ocean and Sasha Pervukhin. They all hit it off and so were invited to showcase the deeper side of the house sounds of Western Ukraine, and the results make up this new EP with the artists taking one side each. Ocean T's opener is a psychedelic, trance-infused cosmic trip while 'What If' rides on crisp beats with some lush dubbed-out synths. On the flip, Pervukhin's 'I Hate This DJ' is balmy, heady deep house from up amongst the stars and 'TR 18 Blues' is a nice kinetic, lithe minimal house cut.

The thirteenth drop from Curtis Electronix comes courtesy of veteran of the electronic music scene. Edward Upton has been producing music since 1994 and much has changed since he unveiled his debut release under the DMX Krew alias. Warp Zone LP showcases the great mastery of his studio, his technical expertise and his exceptional ability to create monolithic soundscapes using very few elements. Each layer contributes to a rich, immersive experience, each element resonates with depth, highlighting his deep understanding of club music, sonic texture and space.

Vortex Traks welcomes Analogous Doom to the label with her diverse and captivating „Collapsar“ EP. The US electro artist, real name Vanna Carr, reemerges with new music that reflects a deep reverence for the natural phenomena that surround us. Known for her melancholic, cinematic, and romantic melodies, Carr’s latest tracks are sure to resonate with listeners who appreciate the emotive aspects of electro. „Collapsar“ is a limited run of 200 copies.

The compilation MEMORIEZ takes you on a trip through dance tracks from the era where music clubs in Belgium & Europe were hot and trend setting.

This will be a limited edition on 600 pieces, pressed on 180 gram high quality 12" black vinyl.

Next up on Funnuvojere Records is label boss Massimiliano Pagliara’s highly anticipated ‘Hooking Up’ EP. Featuring four distinct club belters, each one is crafted to suit different moments of the party. The new EP once again truly showcases Massi’s deep understanding of the dancefloor.

The title track, ‘Hooking Up’, is a cosmic pop song infused with Chicago house influences, embodying Pagliara’s signature style at its best. The track is a journey through lush melodies and infectious rhythms, capturing the essence of Pagliara’s sound and setting the tone for the rest of the EP.

‘Last Kiss (On Acid)’, is a pulsating acidic banger designed for late-night parties where the energy is high, and the walls are dripping with sweat. ‘Fave Rave’ is characterised by its dirty bass line that conjures the foggy, intimate atmosphere of a packed dance floor.

Closing the EP is ‘Poseidon’s Dream’, a cheeky Italo disco hit that brings a playful, nostalgic, but no less energetic finish to the release. With its catchy melodies and upbeat tempo, the track is the perfect way to end the night on a high.

Drawing inspiration from David Hockney (a favourite artist of Pagliara), French artist Grav Jonz crafted the beautiful artwork. Hockney’s influence permeates not only the artwork but also serves as the muse for the entire EP, weaving his unique artistic spirit throughout.

As we approach the threshold leading us back to the Black Lodge on our transformative 8th journey, we are escorted through and beyond the mystical portal by the vigorous and fierce forces of Sneaker. Portrait in House is a collection of 3 resonant works, which are unified into a singular vision within its uncanny language that is rooted deeply in the foundations of Jak, New Beat, EBM, and Wave. Existing inside the liminal spaces of where light meets dark, we are presented with a documentation of dissonance and harmony. We begin our voyage with Jihad, a sluggish and slogging piece that unforgivingly drags us through the grime and the dirt in a ritualistic fashion that would have the ghost of Georges Bataille dancing in circles. Voices call out and howl into the dark as the drum patterns of the 707 rhythmically grasps onto its anarchic components. In the dark, we can see the light beyond the known universe. In the words of Sneaker "The name is not our message, but a document of an evident, traditional concept in (y)our world." As we find ourselves sprawled out on the ground following the 1st sonic stanza, a menacing voice bellows and warns that this is a Sax Track. Referencing Chicago icon Lil Louis, this work juxtaposes classical elements of house music together with the bare knuckled spirit of Jak. A magical spell led by disharmonious Portasound FM keys in conversation with a teetering sub bass, where at its core, this plus this, equals something that is uniquely familiar and unfamiliar at the same time. A number fit for any uncanny ritual that will fall under the night sky. Bringing our cosmic procession to a close we pick up the pace with a commanding number titled, Dance On, a no holds barred work that will possess your soul in the name of Jak. Flangers wail unforgivingly alongside a pulsating 101, as samples of the human voice are chopped up and arranged into a conversation that hypnotically calls for our bodies to be transformed into soft machines, while powered by ceremonious motions that are generated from the liberating process of ritual movement. We command you to dance! Words by Justin Aulis Long

Lady of Rings marks the exciting debut of Paradisal Records. Drawing inspiration from the smoke rings of Mount Etna in Mirko Felicioli's beloved hometown, this EP is a heartfelt journey through time. Mirko pays homage to the unforgettable 80s with a fresh, modern electronic twist.



The four tracks are crafted to ignite the dancefloor with their powerful basslines while also reaching deep into the heart with their nostalgic and romantic synths. This release perfectly encapsulates the essence of Paradisal Records, blending past and present in a unique and captivating way.

* From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound. The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.