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Thantifaxaths zweites Album Hive Mind Narcosis ist nicht nur ein großer Sprung für die Band, sondern auch für den zeitgenössischen Extrem-Metal insgesamt. Von den ersten Tönen an entsteht ein Gefühl der Transzendenz jenseits des Genres und der Szene.Früher als Avantgarde Black Metal bezeichnet, übertrifft Thantifaxath solche banalen Presse-Etiketten und zaubert stattdessen ein ausladendes, disharmonisches und bewusstseinsveränderndes Gebräu hervor, das niemals nur Black, Thrash, Death oder Doom Metal Psychedelia ist.

Vollständig von der Band selbst produziert, haben Thantifaxath ihren Sound auf erdrückende Perfektion zugeschnitten - eine Produktion, die so gewaltig ist, dass der Hörer sich bis zum bitteren Ende nicht zu bewegen wagt. Genau wie die Musik ist auch Hive Mind Narcosis eine lyrische Mischung aus zwei gegensätzlichen Idealen: "Das Album besteht aus zwei Ebenen, die im Gegensatz zueinander stehen. Auf der einen Ebene gibt es einen starken Widerstand gegen etwas, und auf der anderen gibt es eine totale Akzeptanz derselben Sache. Darüber hinaus überlassen wir es der eigenen Interpretation."

In der Karriere jeder wirklich bahnbrechenden Band gibt es einen Moment, in dem sie sich von der Masse abhebt und eine Insel wird. Für Thantifaxath ist Hive Mind Narcosis ein solches Album. Dieser unheilige kanadische Gral des zeitgenössischen Black Metal wird über Dark Descent Records veröffentlicht.
Das Cover von Hive Mind Necrosis zeigt das Gemälde "Hexenflug" (1798) von Francisco Goya, eine Lizenz des Museo Nacional del Prado.

Humanoid continues the journey on De:tuned and returns with a new 4 track EP of classic acid jams. Brian Dougans harks back to the fundamentals of late 80s and early 90s productions, resulting in a masterclass of 303 action from a pioneer. 'Sweet Acid Sound' delivers guaranteed peak-time party material, while elsewhere tracks like 'Roached' and 'Si-rak' see Brian fusing acid and techno to hypnotic and addictive effect. Eternal love and respect tot he originators Graham Massey, Gerald Simpson and Martin Price.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Humanoid continues the journey on De:tuned and returns with a new 4 track EP of classic acid jams. Brian Dougans harks back to the fundamentals of late 80s and early 90s productions, resulting in a masterclass of 303 action from a pioneer. 'Sweet Acid Sound' delivers guaranteed peak-time party material, while elsewhere tracks like 'Roached' and 'Si-rak' see Brian fusing acid and techno to hypnotic and addictive effect. Eternal love and respect tot he originators Graham Massey, Gerald Simpson and Martin Price.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Die Benjamins ist ein intergenerationelles Projekt mit Wahnsinnsmelodien. Max Gruber aka Drangsal, Charlotte Brandi, Julian Knoth (Die Nerven) und Thomas Götz (Beatsteaks) haben gemeinsam mit der legendären Hans-A-Plast-Sängerin Annette Benjamin eine erste EP aufgenommen, sie erscheint am 2. Juni 2023. "Ich habe hier so eine Supergroup für dich zusammengestellt", sagte Drangsal eines Tages am Telefon zu Annette Benjamin, nachdem sie jahrzehntelang - nach Hans-A-Plast - ein bürgerliches Leben geführt hatte. Als erstes fragte Drangsal Julian Knoth von der Gruppe Die Nerven. "Ich wusste, dass Julian Hans-A-Plast-Fan ist", sagt Gruber. Knoth wiederum trifft kurz darauf auf einem Konzert den Beatsteaks-Schlagzeuger Thomas Götz. Schließlich kam die Songwriterin, Pianistin und Sängerin Charlotte Brandi dazu, die Gruber bei einem Tristan-Brusch-Konzert getroffen hatte. 2022 nahmen DIE BENJAMINS die fünf Songs der Benjamins-EP in drei Tagen in Thomas Götz' Studio auf. Produziert hat Max Rieger von Die Nerven, das "Mastermind des deutschen Indie-Rock" ("Der Spiegel") hat unter anderem mit Casper und Stella Sommer gearbeitet. Wie gesagt: Supergroup.(Torsten Gross) Die Benjamins is an intergenerational project with insane melodies. Max Gruber aka Drangsal, Charlotte Brandi, Julian Knoth (Die Nerven) and Thomas Götz (Beatsteaks) have recorded a first EP together with the legendary Hans-A-Plast singer Annette Benjamin, it will be released on June 2, 2023. "I've put together such a supergroup for you here," Drangsal said one day on the phone to Annette Benjamin, after she had led a bourgeois life - after Hans-A-Plast - for decades. The first person Drangsal asked was Julian Knoth of the group Die Nerven. "I knew Julian was a Hans-A-Plast fan," Gruber says. Knoth, in turn, meets Beatsteaks drummer Thomas Götz at a concert shortly thereafter. Eventually, they were joined by songwriter, pianist and singer Charlotte Brandi, whom Gruber had met at a Tristan Brusch concert. In 2022 DIE BENJAMINS recorded the five songs of the Benjamins EP in three days in Thomas Götz's studio. Max Rieger from Die Nerven produced, the "mastermind of German indie rock" ("Der Spiegel") has worked with Casper and Stella Sommer, among others. As I said: Supergroup.(Torsten Gross)

The Inter-Atlantic duo of George Btp Dan Piu & Roger K. Versey return to your shores to traverse more mystery, adventure, and musical journey with an all new double 12" album.

Passport - Wonderful Elixir. Named for its nutritious flavor and mixture, Wonderful Elixir is crafted for the deep frequency connoisseurs, explorers not constrained to genres, not afraid to vibe with the tides of life, but rather seek the deeper feeling that is true and Indigo Blue. The main ingredients are 10 visions that await inside the fine grooves of two 180 gram disks crafted to capture the moments in the best way; a seamless connection of Air, Land and Seaways that harbor elements of Jazz, Acid, Deep House and Street Beat. From the organic forests to the concrete jungles, From Zurich to St.Louis, your Wonderful Elixir is here. Featuring very special appearances from DJ Nata, Jesus Gonsev, and Grant.

Presented on 2×12" vinyl by the legendary No Acting Vibes label, and on CD and Digital by Deep Inspiration Show. Includes original acrylic paintings by Zara Versey.

Wenn am 02. Juni 2023 um 4:49 Uhr die Sonne aufgehen will, ist das 7. von insgesamt 10 Knorkator Alben bereits schon 4 Stunden und 49 Minuten als Vinyl erhältlich.
Wenn man '7 von 10' in der Suchmaschine eingibt, kommen etliche Beiträge über Basiswissen der Mathematik, ein Songtext von Lumpenpack, das Evangelium nach Matthäus Kapitel 7, Physikwissen für Schüler der 7. Bis 10.
Klasse, oder Antworten auf die Frage, ob es denn gut ist, eine 7/10 zu sein.
Deutschlands meistes Ziel der Welt ist es nun, dass vom 2. Juni 2023 an das Album 'We want Mohr' ganz vorne in der Rankingliste '7/10' zu finden ist, denn es klingt fulminant und ist fabelhaft anzusehen.

White Vinyl

Nach einem Jahr voller schwindelerregender Verluste, persönlicher Selbstbeobachtung und bittersüßer Erinnerungen kehren die Foo Fighters mit einem neuen Album ''But Here We Are'' zurück, das am 2. Juni 2023 bei Roswell Records/RCA Records erscheint. Eine brutal ehrliche und emotional rohe Antwort auf alles, was die Foo Fighters im letzten Jahr durchgemacht haben, ''But Here We Are'' ist ein Beweis für die heilenden Kräfte von Musik, Freundschaft und Familie. Mutig, beschädigt und unerschütterlich authentisch beginnt ''But
Here We Are'' mit der neu veröffentlichten Lead-Single "Rescued", dem ersten von 10 Songs, die die emotionale Skala von Wut und Trauer bis hin zu Gelassenheit und Akzeptanz und unzähligen Punkten dazwischen abdecken. Produziert von Greg Kurstin und Foo Fighters, ist ''But Here We Are'' das 11. Foo Fighters-Album und das erste Kapitel im neuen Leben der Band. Klanglich kanalisiert sie die Naivität des Foo Fighters-Debüts von 1995, geprägt von jahrzehntelanger Reife und Tiefe, ''But Here We Are'' ist der Sound von Brüdern, die Zuflucht in der Musik finden, die sie vor 28 Jahren überhaupt erst zusammengebracht hat, ein Prozess, der ebenso therapeutisch war wie es um die Fortsetzung des Lebens ging.

Clear Black Swirl Vinyl! "Are they black?" fragte Iggy Pop, als er sich das erstmals 2006 veröffentlichte Album der BLACK ANGELS zum ersten Mal in das Trommelfell schraubte. Mitnichten, aber trotzdem eine berechtigte Frage. Denn wann hatte man zuletzt solch ,bluesy pools of garage-scum shame mongering" (SPIN Magazine) gehört, wenn nicht wenigstens ein Schwarzer in der Band für den Sound verantwortlich war? Aus dem tiefsten Texas kommt dieses Quintett, das sich im Mai 2004 fand und knappe zwei Jahre später ein Debütalbum auf den Tisch legte, dass Schlagzeilen wie "The Black Angels could be your new favorite band" (Splendid) oder ,This is an advance warning: you will want to claim early ownership of the Black Angels." (Sydney Morning Herald) erntete. Inspiriert vom psychedelischen Sound der 60er Jahre, verloren sich THE BLACK ANGELS auf "Passover" nicht in unendlichen Drone-Schleifen sondern zelebrierten ihren selbsternannten Native American Drone'n'Roll in angenehm relaxter aber immer wieder aufs neue spannender Atmosphäre. Eben neuzeitlicher Psychedelic Rock mit einem konstant primitiven Beat, der den Spirit der 13TH FLOOR ELEVATORS und der frühen STONES wieder aufleben ließ.

Clear Black Swirl Vinyl! "Are they black?" fragte Iggy Pop, als er sich das erstmals 2006 veröffentlichte Album der BLACK ANGELS zum ersten Mal in das Trommelfell schraubte. Mitnichten, aber trotzdem eine berechtigte Frage. Denn wann hatte man zuletzt solch ,bluesy pools of garage-scum shame mongering" (SPIN Magazine) gehört, wenn nicht wenigstens ein Schwarzer in der Band für den Sound verantwortlich war? Aus dem tiefsten Texas kommt dieses Quintett, das sich im Mai 2004 fand und knappe zwei Jahre später ein Debütalbum auf den Tisch legte, dass Schlagzeilen wie "The Black Angels could be your new favorite band" (Splendid) oder ,This is an advance warning: you will want to claim early ownership of the Black Angels." (Sydney Morning Herald) erntete. Inspiriert vom psychedelischen Sound der 60er Jahre, verloren sich THE BLACK ANGELS auf "Passover" nicht in unendlichen Drone-Schleifen sondern zelebrierten ihren selbsternannten Native American Drone'n'Roll in angenehm relaxter aber immer wieder aufs neue spannender Atmosphäre. Eben neuzeitlicher Psychedelic Rock mit einem konstant primitiven Beat, der den Spirit der 13TH FLOOR ELEVATORS und der frühen STONES wieder aufleben ließ.

20th Anniversary Edition of the long-deleted fifth album by THE PEARLFISHERS from 2003.
Deluxe 2-LP set in a beautiful gatefold sleeve with enhanced artwork and all lyrics. The album has been remastered and features four previously unreleased bonus tracks. Non-Returnable.

Masterful, melody-laden classic pop music, driven by main man DAVID SCOTT’s exceptional songwriting which has often been compared to PAUL MCCARTNEY, BURT BACHARACH, JIMMY WEBB, TODD RUNDGREN and BRIAN WILSON

Tidal Waves Music proudly presents ‘Fly By Night’ for the FIRST TIME on vinyl (the album was only released as a limited compact disc back in the early nineties).
This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip.NonReturnable.

This vinyl edition also features the original painted front cover artwork by Virgil Grady (known for his work with Tribe records) and back photography by acclaimed Detroit scene photographer & author Barbara Barefield, whose work has appeared in many renowned publications such as The New York Times, LA Times, People magazine and countless others.

Released exclusively for Record Store Day 2023 (UK/Europe) and available in participating stores on April 22, 2023.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now
legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison
also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the UnitedStates, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.

It is on WEHHA in 1990 that Harrison released (and self-produced) the opus: ‘Fly By Night’ which we are proudly presenting you today. ‘Fly By Night’ is a monster of an album featuring an all-star line-up that
includes Doug Hammond (Mingus, Lonnie Liston Smith) on drums, Kirk Lightsey (Chet Baker, Calvin Keys) on piano, Cecil McBee (John Hicks, Pharoah Sanders, Alice Coltrane) on bass, Jaribu Shahid (Sun Ra) on contrabass and Pamela Wise (Tribe) on Piano. Harrison is killing it here with this selected ensemble (guys he grew up with in Detroit in the late 50’s, when hard bop was the thing and Miles and Coltrane were the heroes of the day). This group of talented veterans are taking this classic album to unseen heights.

On ‘Fly By Night’ the gloves come off…no more jazzy-funk or poppy-jazz. Wendell picks up his tenor for one tune but the remainder of the sessions he performs on clarinet. Wendell’s mastery coaxes the sweet piquant sound of the instrument and as it re-emerges in the contemporary jazz scene. The eight handpicked tunes demonstrate the fertile new directions Wendell Harrison has been working on, combing standards with a fresh new approach.

On these amazing recordings (recorded at the Rebirth Studios in Detroit) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially
released.

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Returning after three years, the husband and wife duo of Alexi Erenkov and Alison Alderdiceaka. The Saxophones have announced the arrival of their third album, To Be A Cloud, for 2nd June 2023. Out today is the first single to be taken from it, Desert Flower, featuring a video directed by Rainbow Tunnel. "Alison wants me to try therapy, "says Alexi. “She’s a therapist herself, but I’ve never been to one. The idea of going makes me very uncomfortable. I don’t like being vulnerable in front of strangers. So, instead of confronting my discomfort, I look for an easier path. It’s never easier and it’s always unsatisfying or destructive. “Desert Flower” is about avoidance and fear impeding personal growth and the deepening of relationships. The album itself was recorded at Phil Elverum’s (The Microphones, Mount Eerie) Unknown Studio in Anacortes, WA last autumn. A former Catholic church where the pair lived during 24/7 recording sessions, time was no object as they experimented and developed the sound of the record. Its magical setting and ample space provided natural acoustics for Alexi’s arresting vocals which were recorded live to 24-track tape, suspending them in an ambiguous historical and chronological context between analogue and digital. Enhanced by Alison’s percussion alongside the bass and keys of Richard Laws, together they made the most of the studio’s many instruments which fill out and bookend their exploration of the billions of years of evolution that have led to this moment in time.

Ghana gilt seit vielen Jahrhunderten als Land der Geschichtenerzähler. Diese große Tradition muss aber nicht unbedingt mit Worten oder der Stimme fortgeführt werden. Peter Somuah spinnt das Storytelling mit seinem Instrument: Als junger Trompeter begibt er sich zwischen dem Highlife seiner Heimat, seinem Idol Miles Davis und der kosmopolitischen Musiksprache seines neuen Zuhauses Holland auf eine faszinierende Suche nach Identität. Diese Reise ist sein „Letter To The Universe“.Als Somuah mit seiner Band im Juli 2022 beim North Sea Festival umjubelt von der Bühne geht, ist dem Publikum klar: Hier ist ein außergewöhnlicher neuer Künstler am Start. Es ist sein erster großer Festival-Auftritt, bislang hatte er nur in Clubs gespielt.

Die Power Metal-Titanen GLORYHAMMER sind zurück im Kingdom of Fife!

In dem nicht soweit entfernten Kingdom of Fife, lebt eine ganz besondere Band – GLORYHAMMER.

Sie betten ihre abenteuerlichen Erzählungen von intergalaktischer Kriegsführung und kosmischer Zauberei in epischen Power Metal und seit ihrer Gründung 2010 führen GLORYHAMMER einen nicht enden wollenden Kampf gegen die Mächte von Zargothrax. Vier Jahre sind seit der letzten Veröffentlichung ihres letzten Albums vergangen, aber das Warten hat nun endlich ein Ende, denn ihr neustes Werk Return to the Kingdom of Fife wird am 2. Juni 2023 über Napalm Records veröffentlicht und und liefert die ultimative und spannungsgeladene Reise der furchtlosen Krieger!

Unheilvolle Fanfaren kündigen GLORYHAMMERs erste Schlacht an, bevor sie den mächtigen und majestätischen Holy Flaming Hammer an sich nehmen, um auf „Holy Flaming Hammer of the Unholy Cosmic
Frost” die Geschichte der Rückeroberung des verlorenen Königreichs zu erzählen. Jedoch hat der böse Magier Zargothrax nach dem verheerenden Krieg von Dundee das gesamte Königreich in Schutt und Asche gelegt und das atomare „Imperium Dundaxia” geformt.

GLORYHAMMER entfesseln mit ihrem packenden Power Metal-Sound ihre eigentliche Superkraft und treiben ihn mit dem ereignisreichen Return to the Kingdom of Fife in ganz neue Höhen!

Die neue Death Thrash Macht mit Metal-Größen David Ellefson (ex-Megadeth), Guilherme Miranda (exEntombed A.D.) und Michał Łysejko (ex-Decapitated).

Bereits 2022 versetzten DIETH die Metal-Szene in Aufruhr, als die neu formierte Band Mitte des Jahres ihre Debütsingle „In The Hall of the Hanging Serpents” veröffentlichte. Nachdem es einige Zeit ruhig um
die einzelnen Musiker war, bündelten der mit dem Grammy Award ausgezeichnete Bassist David Ellefson (ex-Megadeth), Schlagzeuger Michał Łysejko (ex-Decapitated) und der für den schwedischen Grammy nominierte Gitarrist und Sänger Guilherme Miranda (ex-Entombed A.D.) ihre Kräfte zu einer Death Thrash Allianz, die es in sich hat, und begeisterten mit dieser Überraschung Fans und Medien gleichermaßen.

Am 02.06.2023 erscheint mit To Hell And Back nun endlich das heiß ersehnte Debutalbum über Napalm Records. To Hell And Back steht für einen Neuanfang in sämtlichen Belangen – textlich, musikalisch
und natürlich nicht zuletzt persönlich, für die Musiker selbst. In Eigenregie produzeiert und gemischt und gemastert von Tomasz Zed Zalewski in den Zed Studios in Chechło, Polen, haben DIETH die früheren Genre-Stereotype hinter sich gelassen und setzen nun neue, ganz eigene Akzente. Unerbittlicher Death Metal mit Tech-Anteilen trifft auf rasante Thrash-Attacken und präsentiert ganz nebenbei Ellefsons Debut als Lead-Sänger auf einem der zehn Tracks.

Ralph Alessis vierte Veröffentlichung als Bandleader für ECM folgt auf eine einzigartige Albumserie, die von The New York Times bis The Guardian ausschließlich mit Lob überschüttet wurde. Die britische Zeitung pries Ralphs vorherige Aufnahme Imaginary Friends (2019) für die ”elegante Balance aus ergreifenden, verspielten Originalkompositionen und apart forschender Improvisation” und erklärte es zu ”seinem bisher besten Album”. It’s Always Now strotzt jedoch nur so vor Argumenten, dass es einen neuen Anwärter auf
diesen Titel gibt. Auf seinem neuen Album ist Alessis einzigartiger Ton so geschmeidig, durchdringend und präsent wie eh und je, umgeben von einer neu zusammengestellten Quartettbesetzung – Pianist Florian Weber, Bänz Oester am Bass und Schlagzeuger Gerry Hemingway – die mit einem sechsten Sinn durch die eigenwillig swingenden Kompositionen des Trompeters navigiert. Das Album ist nicht nur eine Fortsetzung der Arbeit Alessis, sondern rückt auch Florians Entwicklung bei ECM – es ist bereits sein viertes Album
für das Label – in den Fokus. Seine individuelle harmonische Herangehensweise an den Tasten ist in der Rolle des Sideman ebenso ausgeprägt wie als Bandleader auf seinen eigenen Einspielungen, und sein tiefes Gespür für den Puls von Alessis Kompositionen bereichert diese Session. Das Album wurde von Manfred Eicher produziert.

Im November 2021 startete De Staat sein Projekt „red yellow blue“. Nach mehr als 1,5 Jahren wird das Projekt im Juni 2023 seinen Höhepunkt erreichen und in voller Länge veröffentlichen. Dazu gehören Songs wie: “Who’s Gonna Be The GOAT?” (yellow), “Look At Me” (red) und “Running Backwards Into The Future” (blue).

Während der Pandemie gab es mehr Ruhe und Raum, um gemeinsam an neuen Songs zu arbeiten. Während des Entstehungsprozesses bemerkten De Staat verschiedene Stile in ihren Demos wieder - alle mit dem erkennbaren, eigenen Sound. Nachdem die ersten Songs fertig waren, wurden sie der Einfachheit halber in Primärfarben unterteilt. Diese drei Farben stehen für Gemütszustände: Rot für die dunkle Seite, Gelb für unbeschwerte, tanzbare Songs und Blau für Melancholie. Zusammen bilden sie das gesamte Spektrum
dessen ab, was De Staat im Moment ausmacht. Sobald sie das erkannt hatten, konnten sie die Grenzen innerhalb dieses Rahmen erweitern.

Während Torre schon immer den Großteil der Musik geschrieben hat, war die Band mehr als früher am Schreiben neuer Songs beteiligt. So entstanden Stücke, die sonst nicht geschrieben worden wären. Andrew Scheps ist der Mischtechniker dieser Songs. Er erhielt Grammy-Auszeichnungen für seine Arbeit an Red Hot Chili Peppers „Stadium Arcadium“, „21“ von Adele und „Fly Rasta“ von Ziggy Marley.

'Malombo music is an indigenous kind of music. If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.'
Lucky Ranku

"Lucas ‘Lucky’ Madumetja Ranku (1941-2016) was one of the greatest African guitarists of his generation. He first made his name with the Malombo Jazz Makers – the successor group to the legendary Malombo Jazzmen, formed in Mamelodi township by guitarist Philip Tabane, drummer Julian Bahula and flautist Abbey Cindi. When Tabane left the Jazzmen in 1965, Bahula and Cindi called on Lucky to replace him, and the Malombo Jazz Makers were born. Building on the popularity and success of the original Malombo Jazzmen, the Malombo Jazz Makers become immensely popular, touring widely, winning numerous jazz competitions, and recording two successful albums for the Gallo label.

The deep and hypnotic Down Lucky’s Way was their third album. Recorded in 1969, it was the first Malombo Jazz Makers album to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, Down Lucky’s Way is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity. Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward hypnotic, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, Down Lucky’s Way is the deepest of mood, and the richest of vision.

However, through one of the erasures that are ubiquitous in South African musical history under apartheid, it seems that the record may not ever have been properly issued. Original copies are outrageously rare – only a few are known among collectors. When we asked Lucky about the album, he was unaware it had ever been released, and had never seen a copy. Perhaps it was pulled; perhaps it was pulped; perhaps Gallo simply took their eye off the ball. Nobody knows, but it is not impossible that the apartheid authorities were involved, for by 1969, the Malombo Jazz Makers were well known to them.

Julian Bahula’s introduction of malopo drums to the music of the original Malombo Jazzmen was a moment of crucial political and cultural radicalism for South African jazz. Traditionally used by BaPedi people for healing, the malopo drums of Malombo music re-centered jazz
around indigenous sounds and culture, and over the next decade, the Malombo Jazz Makers became deeply involved in political opposition to apartheid. Their recovery of indigenous sounds made them the musical standard bearer for the Black Consciousness movement, and they toured South Africa clandestinely with the writer and anti-apartheid activist Steve Biko. They also broke apartheid laws by playing with the white rock group Freedom’s Children, sometimes appearing on stage in masks or made up with UV paint to avoid detection by the authorities; they appeared regularly at the rule-bending Free People’s Concerts organized by David Marks, where Marks’ clever exploitation of a loophole – mixed audiences were prohibited from attending ticketed concerts where anyone was being paid, but the law said nothing about private functions played by artists for free – meant people could come together in defiance of apartheid laws. The notorious Special Branch would raid their concerts; Lucky remembered police storming an auditorium, throwing smoke bombs.

Eventually the political situation became too dangerous, and the band were being actively sought by the police. Though Abbey Cindi remained in South Africa, both Julian Bahula and Lucky Ranku went into political exile in the UK, where Bahula founded the group Jabula with Lucky and former members of Cymande, Steve Scipio and Michael ‘Bami’ Rose. With Jabula, Julian and Lucky worked tirelessly for the anti-apartheid movement, raising funds and awareness all over Europe and in the US. They played with Dudu Pukwana’s Spear in the joint formation Jabula-Spear, and worked together in Bahula’s Jazz Afrika formation, and Bahula organized the first Concert for Mandela in 1984 (it was Jabula that supplied the chorus for The Special A.K.A.’s hit single ‘Nelson Mandela’). Lucky also played and recorded with Chris McGregor’s South African Exiles Thunderbolt group. After the fall of apartheid, they both remained living and working in the UK. In 2012 the South African government awarded Julian Bahula the Gold Order of Ikhamanga for his cultural work during the struggle against apartheid.

Until his death in 2016, Lucky continued to play with countless groups and musicians. putting together the band Township Express with Pinise Saul, and leading his own African Jazz Allstars. The influence of his playing on the international perception of South African township music was immense, and he was held in the highest regard by his peers – ‘Lucky was a guitarist who could bring any house down’, said Michael ‘Bami’ Rose.

But despite his continuous presence on the UK live circuit over four decades, Lucky Ranku never recorded an album as leader. And so as well as restoring an important lost piece of South African musical heritage, Down Lucky’s Way is a precious opportunity to hear one of Africa’s foremost guitarists stretching out, in focus and in his element."

First issue since 1969 of the Malombo Jazz Maker’s unknown third album.
Liner notes featuring interviews with Julian Bahula and Lucky Ranku.
Fully licensed from Julian Bahula.

Richard Pryor contained multitudes, each fully inhabited character funnier and more
insightful than the last, so it’s no wonder when he took the stage at The Comedy Store in
Hollywood in 1973, it’d be a full 15 minutes before he spoke to the adoring audience as
himself. No, he needed to start where he started, on the streetcorner, with all the wit,
wisdom, and general jackassery of Wino & Junkie. Throughout a set full of hard jokes and
detailed character sketches (including the men of the Saturday night police lineup in his
hometown of Preoria, Illinois—the first and riskiest stage he knew), the audience has the
chance to get caught up in the silliness so inherent to Pryor while never losing sight of the
issues America had yet to face (and hasn’t still). There are sex jokes that hit so hard the
women in the audience take an audible refractory period, drug advice that has you weighing
the relative trip-laden merits of dope and acid, and a call-and-response on sandwiches that
proves the irresistibility of zealous Black midwestern preachers; there’s a litany of celebrities
whose names and projects have blurred in Pryor’s mind, but whose faces and friendship so
clearly light him up; there’s even fighting advice (don’t fight Italians, their mothers get
involved, and try to avoid a paternal cowboy whuppin’, because no one wants to get hit with
a chair). And then you get hit with the hardest punch: Pryor reaching out from 50 years past
to make the truth plain. You never hear about civilians accidentally killing cops, so why is it
that cops are always “accidentally” killing Black men? As it turns out, 1973 and 2023 aren’t so
far apart that the legendary Richard Pryor can’t bridge the gap.

The Joshua Jaswon Octet is a Berlin-based contemporary jazz ensemble, featuring a broad cross-section of exceptional young musicians from Europe's leading jazz scenes. Lead by the London-born saxophonist and composer, the ensemble released its debut album Silent Sea in October 2020, which was selected by BBC Music as one of the best jazz recordings of 2020/21 and received 4 and 5 star reviews across the UK and international media. Polar Waters draws out the distinct musical personalities of each member of the Octet into the group's collective sound was a part of the ensemble's natural evolution from its first record and something that has developed through extended time living with and performing the music. Jaswon focused on exploring the fluidity of roles, sound colours and textural combinations in the ensemble and how this related to both the collective and individual.

Peaness' double EP "Are You Sure?", featuring songs from their first ever EP "No Fun" plus previous 7" and cassette releases such as "Oh George" and "Seafoam Islands" which was originally released in 2017. As a firm fan favourite, their 'Petite Pois' as they have so affectionately named their fanbase, will be over the moon that they are finally getting a repressing of this record. Limited one off pressing on Splatter (green and yellow) coloured vinyl.

Though she had been performing professionally since the late 1920s, as a teenager in Harlem, during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather, and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Lady Love shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

Banff, Alberta… a picturesque Western Canadian mountain town, famous for natural beauty, kitschy tourist shops and incredible nightlife. It’s this last attraction that provides the inspiration for Dragon Fli Empire’s newest opus, “Banff Avenue”. The two-man team of DJ Cosm and Tarik Robinson (aka Teekay) return with their first album since 2013’s “Mission Statement” and it’s a purely in-house effort with that 100% DFE formula of thumping, melodic beats by Cosm and Teekay’s smooth and intelligent wordplay. The chilled-out vibes on this album are the perfect musical remedy for the chaotic year that is 2020. Download and stream this incredible project (complete with instrumentals) today!

Stil war gestern, Transformation und Genrevielfalt sind heute! Mit seiner bestens eingespielten Formation Shake Stew, die sich aus zwei Bässen, zwei Schlagzeugern und einem edlen Bläsertrio zusammensetzt, bietet der österreichische Kontrabassist Lukas Kranzelbinder ein intergalaktisches Roadmovie für die Ohren und "good vibrations" für die Seele. Auf dem Debütalbum "The Golden Fang" wehen schamanische Klangschlieren und böllern kolossale Beat-Architekturen, während energietrunkene Bläserstimmen Schlangenlinien fahren. Stimmungen werden smart einer langsamen Metamorphose unterzogen, Soli elegant in ein atmosphärisch dichtes Klangbild eingehüllt. Das gemahnt mal an eine Marching Band, dann wieder an freitonale Feste, wobei zwischendurch auch orientalische Skalenexkurse und bluesige Andeutungen farblich aufblitzen. "Mit diesem Nachwuchs steht der österreichische Jazz auf gesunden Beinen", befanden die "Oberösterreichischen Nachrichten".

"As long as you come to my garden", the sixth release in the cherished Die Schachtel’s series “Decay Music” as well as the debut of the duo Damāvand (Gianluca Ceccarini and Alessandro CIccarelli) on the prestigious Italian label, is a tribute to the Armenian troubadour Sayat Nova, through his lyrics and freely inspired by the cult movie about his life The Color of the Pomegranates (Nřan guynə, 1968, USSR) directed by Sergei Parajanov. The feature film tells the life of the poet, who lived in the 17th Century, from childhood in the royal court, to retirement until his death in the monastery of Haghpat, through a series of episodes, static like paintings that do not tell but show, evoke, they suggest through metaphors, analogies, surrealist flair, dreamlike landscapes, liturgical pauses.

The six tracks are inspired by the dreamlike imagery contained in the movie, weaving sound textures ranging from ambient to noise, to references to the musical tradition of the Middle East.

Gianluca Ceccarini and Alessandro Ciccarelli alternate, without fixed roles, with analog synths, drones, amplified common objects, generative music, audio samples from the film and acoustic instruments such as the tar - a stringed instrument of Persian origin, the trombone and the cornet. In addition, two of the songs on the album contain Sayat Nova’s poems recited in Persian by Nahid Rezashateri.

The sound materials are revealed gradually like episodes, evoking the visual suggestions staged by Parajanov in the movie. As long as you come to my garden is intended as an imaginative journey to distant spaces and indefinite archaic times.

DAMĀVAND is a musical project by Gianluca Ceccarini (electronics, electroacoustic objects, tar) and Alessandro Ciccarelli (electronics, electroacoustic objects, trombone, cornet)

Gianluca Ceccarini, guitarist, electroacoustic experimenter, luthier specialized in the restoration and construction of plucked musical instruments for early music. In 2021 his first album Starving Night was released for the netlabel Laverna and in 2022 the Sarab Label published a CD version. He also works in photographic research, video-art, graphics and independent publishing with the Sarab collective.

Alessandro Ciccarelli is an author who ranges between different languages: photography, video, sound. He is involved in several collective research projects in the musical and theatrical fields. His solo records are released under the nom de plume Elnath Project. The latest work, after six years of silence, from Italian berlin-based composer, performer and publisher (Black Letter Press) Claudio Rocchetti, and a welcomed return on the Die Schachtel imprint after the brilliant Another Piece of teenage wildlife (2008), Labirinto verticale (Vertical Maze) takes its origin from the four years long collaboration of Rocchetti with the Parma-based Fondazione Lenz, a contemporary theatre research collective/organization.

Tommy Prine’s debut album is not only a long-awaited introduction but a testimony to Prine’s twenties and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic, from cathartic jams to nostalgic storytelling. The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers spent in his mother’s homeland of Ireland lent their own inspiration too and ten straight years camping at Bonnaroo introduced Prine to a swath of music not belonging under the greater Americana umbrella and his musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more. In a way, what makes Prine’s own music so special is how he’s navigated life and creativity apart from his family’s name—as he once said, on stage, to a disorderly request for one of his dad’s songs, “You’re not about to get an hour of John Prine Junior.” It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. It took a long while for Prine to even share the songs he’d been writing about the triumphs and tragedies of his life, only recently deciding to let his friends and now-collaborators Ruston Kelly and Gena Johnson hear what he’d been putting together. This Far South is an emotionally complex but universally accessible debut that sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.

The legendary 1964 rehearsal collaboration receives its first official issue Restoration and Mastering by Grammy®-winning engineer Michael Graves Packaging contains rare photos plus liner notes from Jorma Kaukonen Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen. The Legendary Typewriter Tape: 6/25/64 Jorma’s House contains this legendary recording, featuring Restoration and Mastering from acclaimed, Grammy®-winner Michael Graves. The tracks include Joplin on vocals, Kaukonen on guitar, and Jorma’s wife Margareta typing away intermittently in the background. This may have just been a rehearsal, but it is so much more. Featuring Joplin originals, as well as blues classics, The Legendary Typewriter Tape is an intimate glimpse into two major artists at the beginnings of what would become highly influential careers. As Jorma says in his liner notes: “This is indeed a window into a simpler time when the music truly was everything.” Available on CD and Digital December 2, 2022, the release will also be available on vinyl exclusively for Record Store Day Black Friday, November 25, 2022 Enjoy being a fly on the wall and revel in the magic of The Legendary Typewriter Tape.

Recycled Col. LP

McKinley Dixon calls the late Toni Morrison the greatest rapper of all time; and the way he tackles topics like survival, violence, and religion within the expansive landscape of the Black experience, evokes her novels. It is from the title of Morrison‘s Beloved trilogy where he finds the title of his new album with City Slang Records: Beloved! Paradise! Jazz!? Musically his household was defined by “artists whose first name was Mary,” including Mary J. Blige and gospel duo Mary Mary. Discovering Outkast was formative for Dixon, deepening his love for hip-hop while he also grew curious about the more theatrical rock of groups of the day, bands like My Chemical Romance and Panic! At The Disco that his Maryland friends introduced him to. “Those groups also helped me with my sense of longing, since their music reflected a sense of longing,” he says. Eventually he channelled these competing influences into a debut EP he released in 2013. With time, his music became his primary means of self-expression, whether discussing Blackness or his own relationship with healing. Across his next releases, his style evolved and his confidence grew, especially when it came to live instrumentation. His 2021 debut album For My Mama and Anyone Who Look Like Her was a game changer, as Dixon set his sights on heartache and grief. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon says of that project. Beloved! Paradise! Jazz?! is an attempt at channeling different impulses. Sometimes rough and other times delicate, this record is a journey into is a journey into the psyche of McKinley Dixon, with all of the of the attendant peaks and valleys.

Pacific Blue Vinyl, limited to 200 copies. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records.

When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020.


And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

Transparent green vinyl. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records. When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020. And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

„Nach dutzenden bis unzähligen umjubelten Konzerten von den ganzen kleinen Clubs bis hoch in die prunkvollsten Säle und Paläste der Republik, ist es nur folgerichtig, dass am 02.06.2023 „Das ist alles von der Kunstfreiheit gedeckt“ als Live-Album erscheint. Aufgenommen wurde es Anfang November 2022 im Admiralspalast in Berlin. Neben einem großen Teil der Songs des Klavieralbums enthält „Das ist alles von der Kunstfreiheit gedeckt (Live in Berlin)“ auch einige ältere Danger Dan-Songs, die hier erstmals in neu arrangierten Versionen mit Klavier und Streichern wiederveröffentlicht werden.“

Great nu Mackitek Hs featuring some of hard acid music big name such as Stefan ZMK and Mr Gazmask. Also include a killer in betwee acid and spirally tek from Keja!!!

The Chicago-based artist, real name Andres Ordonez, has been a fixture in US house music circles since the '90s, releasing a string of EPs on labels like Sistrum, Semantica and Sound Signature. Theo Parrish's outlet, which last year put out a live mix from Ordonez, will handle his first album.

Realce is a studio album released by Brazilian singer Gilberto Gil in 1979. It is the last album of Gil's "Re" trilogy, the others being Refazenda (1975) and Refavela (1977).