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Deejay-turned-produced Jah Thomas’ Midnight Rock helped shift roots reggae to dancehall in the late 1970s and Thomas continued producing in the new millennium, sometimes revamping Roots Radics tracks from Channel One, and alternately cutting fresh work at King Jammy’s, Black Scorpio, and Mixing Lab. Secret Tapes has stellar guests like roots messenger Luciano, dancehall don Super Cat, supreme crooner Courtney Melody, Jah Thomas himself, and a collab between Pinchers and Josie Wales; Tony Curtis, Ghost and Mitch are courtesy of a Buju Banton co-production. Special request to all dancehall fans!

"Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. On these improvisations Francisco Mela sings themes inspired by the Cuban traditional repertoire."

Daniel Carter - Saxophones, trumpet, flute.
Leo Genovese - Piano.
William Parker - Bass, shakuhachi.
Francisco Mela - Drums, voice.

Recorded on July 16, 2021 by Jeremy Loucas at Sear Sound, New York City.
Mixed and mastered by Jeremy Loucas.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

Absolute Überforderung, die einfach nur nervt. Am liebsten alles hinschmeißen und verkriechen. Doch SURALIN haben es geschafft, dem allgemeinen Fatigue-Syndrom zu entkommen. Sie haben mit "Nothing is the News" ein Album geschaffen, dass tief berührt, fesselt und gleichzeitig befreit. Der fünfte Longplayer des Chemnitzer Quartetts baut zunächst auf dem Sound seiner Vorgänger auf: ein feingesponnenes Netz aus diversen Indie- und Post-Whatever-Einflüssen, das trotz aller Komplexität ganz einfach und organisch wirkt. Die "Reduktion auf das Wesentliche", wie Bassist Matthias sagt, ist diesmal noch konsequenter ausgefallen. Live im Studio eingespielt und ohne instrumentale Overdubs oder zusätzliche Effekte beim Mix. "Das ist der pure Klang der Instrumente, unserer Pedals und des Aufnahmeraums." Im Ergebnis klingen SURALIN noch dringlicher als sonst, mit bewegender Tiefe. Auf dem treibenden Teppich von Schlagzeug und Bass können die beiden Gitarren ihr Mit- und Gegenspiel zwischen Melodie und Dissonanz entfalten. Die neun Songs beinhalten dabei erstaunlich viele arabeske Figuren sowie motorische Wiederholungen, die erhebliche Sogwirkung entfalten. Darin eingebettet ist der oft fragile Gesang von Alex, der den Zustand seiner Umwelt kommentiert. Laut Sänger Alex vereint der Albumtitel "Nothing is the News" die Gedanken, dass sich die Welt zwar ständig verändert, die Technologie weiterentwickelt und der Mensch sich drastisch vermehrt. Aber der Mensch als solches gleich bleibt. Macht, Unterwerfung, Ausgrenzung, Neid, Missgunst und Egoismus sind die vorherrschenden Themen." Trotz dieser Schwere wird in den Texten immer wieder deutlich, dass durch das eigene Verhalten Veränderungen möglich sind und der Wille zum Besseren überwiegt. Positive Verzweiflung. Außerdem sei der Titel auch eine Anspielung auf SURALIN selbst, die konsequent an der Leidenschaft zum Musik machen festhalten, so Alex.

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

JD McPherson has created something unique and amazing with his latest album, Nite Owls. His first album release since 2018’s critically acclaimed Christmas classic, SOCKS. Over the past 5+ years, McPherson has stayed consistently busy writing new songs while at the same time touring with Alison Krauss and Robert Plant. Being a touring musician offers the chance to see the sights, tour the town and pick up some inspiration from the local record shop. With Nite Owls, JD wanted to try something new and different. He wanted to take the inspiration from multiple decades and styles and incorporate them into his own sound. “The initial idea for the record was: It’s like if The late-60s Ventures were the session band on the first New Order record.” Says, McPherson. Idea achieved. Nite Owls delivers the signature sounds of vintage garage-rock while also seamlessly bridging the sounds of Bowie and Alan Vega. Songs such as “Sunshine Getaway”, “The Rock and Roll Girls” and “I Can’t Go Anywhere with You” sound like Chuck Berry is jamming with Buddy Holly. While song’s like, “Nite Owls” and “Don’t Travel Through the Night Alone” give a nod to the Factory sound from the UK. The throwback sound of the lone instrumental track “The Phantom Lover of New Rochelle” would make Dick Dale ride and Link Wray rumble. With Nite Owls, McPherson takes inspiration from multiple genres of the past and combines them together to evolve a sound that is all his own.

Punk collective TOKKY HORROR have released their brand new EP 'KAPPACORE', today via Venn Records. Order the EP - HERE. To celebrate the release the band have released new single 'MAXINE'. Speaking about the new single the band said, “Maxine is a perfect example of collaboration breathing new life into an idea. We’d been sat on the instrumental version for over a year, and wasn’t until we got into the studio with Blazer that it really came into its own. We wanted to capture the atmosphere of rave culture but play it as a band. It’s got all the breaks, bass lines, stabs that a rave track would carry. It’s just done live” Speaking about the EP the band said, “This is the last thing we’ll put out before disappearing to record our album. It’s road tested, high energy material from the first era of Tokky Horror. We’ve wanted to meld breakbeats with visceral guitars as we usually do, but expanded our range of sampling further and pushed our weirdness at times, there’s less out-and-out riffs and more times where our love of Orbital and Aphex Twin shines through. It’s still a record for the punks, just not purists.” KAPPACORE Tracklisting: MAXINE (feat Blazer Boccle) HAMMER 2 THE FACE JAZZ MUSIC TOILET TRANMERE RAVER (feat. MC NULTi) Tokky Horror who recently supported Enter Shikari on their sold out tour, have announced a headline tour for this October..

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds.

In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers.

Phill Niblock

Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

Anna Clementi

Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater.

During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others.

A special focus of hers is the work of John Cage, whose pieces she has performed worldwide.

Thomas Stern

Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio.
credits:

Anna Clementi: voice

Thomas Stern: slide guitar, bass and soundprocessing

Composition by Phill Niblock, Anna Clementi and Thomas Stern

Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin

Mastering and lacquer cut: Kassian Troyer at D&M, Berlin

Cover photography by Phill Niblock

Layout and design by kaidoh

Mutant, in partnership with Hollywood Records and Marvel Studios are proud to present The Newton Brothers' score to the hit animated series X-Men '97



The highly anticipated revival of the long-dormant and seminal animated series is as fun, thoughtful and emotionally charged as the original run, while being matured slightly for an audience that has aged since its last episode nearly thirty years ago. But matching the energy, tone of the original was dependent on nailing the sound, and that clearly was top of mind for the series composers The Newton Brothers.



The Newton Brothers have produced an incredibly dynamic collection of music - from tackling the implications of serious political allegories, deep emotional truths, all while still embracing the fantastical surprises present in this universe (such as being sucked into a video game). X-Men '97 proves you can tackle legacy work in creative and original ways.



2 x 140g translucent blue and red vinyl housed in a gatefold jacket Artwork by Phantom City Creative.

Brand new remastered version of PENTAGRAM legendary album Review Your Choices in new coloured vinyl and with a brand new cover desgined by Mirkow Gastow. PENTAGRAM's fourth studio album "Review Your Choices" marked the band's sixth comeback after several changes of line-up and label. These acclaimed protagonists of Doom Metal proved once more indestructible by drug addiction, break ups, bad deals, jail terms, chronic illness, satanic blood sacrifices and various acts of self destruction. Main-man and singer Bobby Liebling has kept his band alive for over 35 years now and might easily be awarded the title of "longest serving cult band" - highly acclaimed by fans, press and fellow musicians alike. "Review Your Choices" marked the return of multi-instrumentalist Joe Hasselvander to join Bobby Liebling in his eternal quest of creating the heaviest sound possible. The album features a mix of re-recorded lost Liebling tracks from the 70's and stellar new numbers penned by Hasselvander, which gave "Review Your Choices" an extra heavy feeling. PENTAGRAM once again set a standard to be followed by such illustrious followers as Cathedral, Spirit Caravan, Goatsnake, St. Vitus, Trouble or High On Fire among many others. Dive down deep into gloom and despair with this classic Doom recording.

Neon Green Vinyl, limited to 400 copies. Brand new remastered version of PENTAGRAM legendary album Review Your Choices in new coloured vinyl and with a brand new cover desgined by Mirkow Gastow. PENTAGRAM's fourth studio album "Review Your Choices" marked the band's sixth comeback after several changes of line-up and label. These acclaimed protagonists of Doom Metal proved once more indestructible by drug addiction, break ups, bad deals, jail terms, chronic illness, satanic blood sacrifices and various acts of self destruction. Main-man and singer Bobby Liebling has kept his band alive for over 35 years now and might easily be awarded the title of "longest serving cult band" - highly acclaimed by fans, press and fellow musicians alike. "Review Your Choices" marked the return of multi-instrumentalist Joe Hasselvander to join Bobby Liebling in his eternal quest of creating the heaviest sound possible. The album features a mix of re-recorded lost Liebling tracks from the 70's and stellar new numbers penned by Hasselvander, which gave "Review Your Choices" an extra heavy feeling. PENTAGRAM once again set a standard to be followed by such illustrious followers as Cathedral, Spirit Caravan, Goatsnake, St. Vitus, Trouble or High On Fire among many others. Dive down deep into gloom and despair with this classic Doom recording.

At the height of the First World War, two young British soldiers, Schofield (Captain Fantastic’s George MacKay) and Blake (Game of Thrones’ Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake’s own brother among them. 1917 is directed by Sam Mendes, who wrote the screenplay with Krysty Wilson-Cairns (Showtime’s Penny Dreadful). Rotten Tomatoes critical consensus reads: ""Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy."" The music to the movie is composed by Thomas Newman (The Shawshank Redemption, American Beauty, Road to Perdition). Newman has received a whopping 15 Oscar bids throughout his career, including one for this epic score. Since the film is designed to be told in one continuous shot from cinematographer Roger Deakins, Newman’s pulse-pounding score often serves as a unique form of editing. The music cuts off during dramatic cues, ramps up in battle scenes and, in one breathtaking moment, becomes almost operatic as MacKay runs through war ruins to escape being seen from enemy flares. 1917 is available as a limited edition of 500 individually numbered copies on translucent blue coloured vinyl. The package includes an 8-page booklet with movie stills and liner notes by Sam Mendes.

The Ruins' eponymous EP (also known as the “gray record”) was originally released in the late spring of 1984 and in fact represents a significant moment in the Italian independent music scene of the early 1980s. The then contemporary burgeoning wave of entertainment music contaminated by experimental accents and conveyed essentially by electronic instruments saw the Ruins at the forefront. The band, essentially a duo, formed in Mestre (Venice) in 1978, had already carved out a window of national attention within the Italian new wave in 1981 with their first single “Short wave” and their participation in one of the very first (if not the very first) Italian new wave compilations entitled “Samples Only.”

Following this, between 1982 and 1983, there had been an important interlude in the evolution of the RUINS sound with the foundation of the quintet project (of which SPITTLE/DepenDance recently published an essential anthology titled “BRAIN FLAKES”). At the end of 1983, having concluded the group experience with the consequent and inevitable return to the original duo dimension the musical style further evolved putting even more emphasis on the unique blend of electronic sounds and almost black /soul influences of the new compositions that would later be collected in 1984 in the original version of E.P.

The duo's sound at that particular time was characterized by the innovative use of synthesizers and drum machines for unconventional song structures, which at the same time also encapsulated Ciranna and Pizzin's experimental ethos, thus allowing them to follow a parallel trajectory capable of maintaining a certain distance - while remaining somewhat related to - from the contemporary mainstream pop and the so-called ITALO disco strand.

Ultimately, this 1984 EP by the Ruins - of which Spittle DepenDance now offers a valuable reissue enriched with additional material from the period that has remained completely unreleased until now - is a testament to the band's innovative spirit and its role in shaping the Italian new wave scene, landing moreover to international acclaim and acclaim even over the following decades. With its mix of electronic experimentation and dark pop sensibility, it remains essential listening for fans of avant-garde pop music.

2024 Repress

Undoubtedly the darlings of electro-pop, Satin Jackets finally unveil their debut artist album, 'Panorama Pacifico' featuring a string of cameos from vocalists familiar and exotic, jetting in from LA, Berlin, London, Belgium and Australia.

Scaling the heights of the Hype machine from their first release to the latest, and clocking up almost ten million plays on spotify, Satin Jacket's original brand of diva funk and smooth disco has whetted the tastebuds of the likes of Majestic Casual and i-D mag who said the duo's "super sexy, infectious house music is filled with the vibe of summertime." Their smash single, 'You Make Me Feel Good' has accumulated close to three million plays on Soundcloud (soundcloudsatinjackets/you-make-me-feel-good) and Youtube concurrently.

"The idea came from our character, Mr. Satin Jackets, who's been travelling the world quite a bit the past two years," explained Tim Bernhardt, the founder of the duo. "Four continents, about twenty countries in, he's on the West Coast and takes a break. He watches the ocean to put his mind at ease and out pours Panorama Pacifico."

This idyllic perspective is launched by the vocals of Scavenger Hunt, the Los Angeles-based electro-pop 4-piece, charted by Billboard and featured by the likes of Nylon mag. They explain about their contribution, "Feel Good' feels like jumping into a cool pool on a hot summer day- refreshing, exhilarating and sexy." Nigerian born and Birmingham based UoB's Got Talent winner, IsaacO contributes to 'Keep Moving On'. He explains it's, "a song about having a nonchalant attitude towards life regardless of what it throws at you. Best listened to on a nighttime drive on the highway."

The album also takes a peek into the past successes of Satin Jackets, with last year's smash single, 'Shine On You' featuring UK born and Berlin based talent Esser, dubbed by Clash magazine as "an exploratory glimpse into the mind-expanding side of Satin Jackets' electronics," and recent single 'We Can Talk' featuring vocals from Emma Brammer.

Further new collaborations include Ghent-based collective I will, I swear, Melbourne's Kids At Midnight and diamond in the rough of Belgian pop Marble Sounds. Fellow Eskimo artist and Greek producer NTEIBINT and KLP from Australia also feature. Each plots a similar narrative about the struggles of love. "'Say You' is about being afraid of being happy,' explains Jane Elizabeth Hanley AKA Kids At Midnight; 'Coast To Coast' is "a sweet love song that could also work on the dancefloor," says George Bakalakos AKA NTEIBINT; and Emma Brammer explores the concept of, "the exciting and painful first love - maybe it's not so good for you but it feels historical."

Pieter Van Dessel of Marble Sounds digs further on 'Find Out'. "The lyrics 'Shut your eyes, and you'll find out' started as a reference to childhood memories: as kids we often had to close eyes when somebody wanted to surprise us with a gift. But it can also mean that you could learn more about reality when you disconnect and close your eyes, instead of gathering (too) much information."

Three quarters of the tracks are fresh and introduce exciting guest vocalists and producers. These are complemented by the much-loved staples from the duo, 'Girl, Forever' and 'You Make Me Feel Good'. Tim of Satin Jackets explains, "We're ending the journey of this album with 'You Make Me Feel Good',

German music producer, Tim Bernhardt and lead performer Den Ishu are Satin Jackets. Their eponymous live show has relentlessly toured the US, Canada, Mexico and Europe, opening their fluid pop appeal and accessible four-to-the-floor groove up to the world at large. Their debut album, 'Panorama Pacifico' is set for release on 8th April on their home label, Eskimo Recordings. The Belgian imprint has been a purveyor of disco, house and everything in between for over fifteen years.

New Milestone AOR Album Release by Joseph Williams, Bill Champlin, and Peter Friestedt!

Exciting Collaboration: TOTO singer Joseph Williams teams up with former Chicago singer Bill Champlin and Swedish guitarist/producer Peter Friestedt for an exhilarating new milestone AOR release! This collaboration follows the immense success of their album "CWF II" and the "Live In Concert" DVD, which soared to the top of the Swedish charts.

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

ie stehen wie keine andere deutsche Band für modernen Rock 'n'Roll-Sound im Stile der 1950er und 60er Jahre.
Gleich mit ihrem ersten Album "Strike!" eroberten THE BASEBALLS 2009 die Spitzenpositionen der Charts, nicht nur in Deutschland, O?sterreich und der Schweiz, sondern in zahlreichen europäischen Ländern. Sie erhielten Gold- und Platinawards, spielten ausverkaufte Touren und gewannen Auszeichnungen wie den finnischen Musikpreis EMMA, den European Border Breakers Award und zweimal den ECHO.
Beinahe auf den Tag genau vor 70 Jahren erschien mit "That's Alright Mama" die erste Single von Elvis Presley und nichts mehr war wie vorher.
Bei The Baseballs ist auch kaum noch etwas wie es war. Als Duo haben Sam & Basti die Band einer völligen, beinahe schon radikalen Frischzellenkur unterzogen, denn The Baseballs klingen moderner denn je. Dafür haben sie auch einige ihrer Kulthits neu aufgenommen und nichts ist entsprechend treffender, als ihr neuntes Album eben "That's Alright" zu taufen.

Formed in leafy Surrey in the late 1980s, Threshold rose to prominence in the decade that followed, quickly establishing themselves as Britain's leading pioneers of progressive metal. Since debuting "Wounded Land" in 1993, the proven core creative duo of guitarist Karl Groom and keyboard maestro Richard West have developed a unique form of fierce progressive music that features precise melodies, thought-provoking lyrics and complex yet thunderous arrangements united. Threshold have tirelessly evolved over three decades of creative passion and may have reached a new peak in their performance with 2017's conceptual and musical feast, Legends Of The Shires. With the return of vocalist Glynn Morgan to the band, the Brits' permanent line-up of Groom, West, drummer Johanne James and bassist Steve Anderson have reached new heights and received critical acclaim in the process. The band's latest (and twelfth) studio album, Dividing Lines, was darker, heavier and even more adventurous than its predecessor, producing some of the most creative and melodically powerful material they have ever recorded. With these reissues of the remixed and remastered albums “Clone” and “Extinct Intinct” come the next two new vinyl formats and CDs with bonus tracks.

Die sächsische Band TURBOKILL um ex-Alpha Tiger Sänger Stephan Dietrich, meldet sich mit ihrem zweiten Album zurück. Nach den beiden
Vorab-Singles „Time to Wake“ und „Tear it Down“, folgen dieses Jahr drei weitere Singles, bis das neue Album „Champion“ am 27. September 2024
auf SPV/Steamhammer weltweit digital sowie als CD und Vinyl erscheint.
TURBOKILL haben sich dem europäischen Powermetal verschrieben. Geprägt von starken Melodien und der einprägsamen Stimme Stephan Dietrichs.
Eine Kurz-Tournee Anfang des Jahres, unter dem Banner „New Wave of German Metal“ mit den Bands SINTAGE und FIREBORN im Package,
verdeutlichte die instrumentellen Fähigkeiten des Quintetts und den erstklassigen Powermetal. Das Rock Hard zählte TURBOKILL nach deren Show im
Backstage München immerhin zur „Elite des Teutonenstahls“. Dieser Auszeichnung wollten die Musiker der Band natürlich gerecht werden. Belebt
von der Energie ihrer Live-Auftritte, nahm die Band in der Folge ein entsprechend inspiriertes Album unter der Regie von Lars Rettkowitz (Freedom
Call) in seinem Emperial Sound Studio auf.

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.

Das neue Album des Danish String Quartets ist eine ”musikalische Spurensuche über die Nordsee, eine
Reise durch die Klänge der traditionellen Musik Nordeuropas, die uns von Dänemark und Norwegen zu den
Färöer-Inseln und nach Irland und England führt.” Keel Road folgt auf Last Leaf, das gefeierte Danish-StringQuartet-Album aus dem Jahr 2017, das von NPR zum ”Classical Album of the Year” und von Publikationen
wie der New York Times und dem Gramophone Magazin zum ”Best of the Year” gewählt wurde. Keel Road
unterstreicht die Auffassung der Gruppe, dass ”Volksweisen nicht nur ein Teil unseres Repertoires, sondern
ein wichtiges Element unserer Identität als Musiker sind.” Subtil in den Fluss der Einspielung integriert sind
neben traditionellen Stücken auch Eigenkompositionen von Rune Tonsgaard Sørensen und Fredrik Schøyen
Sjölin sowie bestechende Arrangements der Musiker von vier Kompositionen Turlough O’Carolans, dem
legendären Harfenisten aus dem irischen County Meath. Das Programm beleuchtet sowohl musikalische
Verwandtschaften als auch deren subtile Unterschiede, denn obgleich Folkmusik ”lokale Traditionen und
lokale Geschichten repräsentiert, ist sie gleichzeitig auch die Musik von überall und jedem”. Keel Road
wurde im November 2022 im Village Recording Studio in Kopenhagen aufgenommen und im März 2024 in
den Bavaria Musikstudios in München gemischt.

Die umjubelelten, schrill-bunten Rockerinnen von The Hot Damn! sind mit einem Paukenschlag zurück und veröffentlichen ihre elektrisierende neue Single Can You Hear Me Now? zusammen mit der Ankündigung ihres mit Spannung erwarteten Debütalbums Dancing on the Milky Way, das am Freitag, den 27. September 2024, über Fat Earth Records erscheinen wird. Die vierköpfige britische Rockband wird als das ,farbenfrohe Chaos" des Rock bezeichnet und bringt mit jedem Song, jedem Video und einer energischen Live-Show nach der anderen wieder Farbe in die Musikszene. Mit knackigen Riffs und wilden Harmonien bringen The Hot Damn! dich zum Tanzen, bevor du es merkst. Die vier temperamentvollen Damen, die unter anderem von Kerrang!, Planet Rock und BBC Radio 2, BBC Radio 6 und Radio BOB gelobt wurden, sind keine Unbekannten in der Musikszene. entstand die Band u.a. aus der Asche von The Amorettes und Tequila Mockingbyrd und besteht aus den Talenten von Gill Montgomery (The Amorettes), Josie O'Toole (Tequila Mockingbyrd), Laurie Buchanan (Aaron Buchanan and the Cult Classics) und Lzi Hayes (New Device/Sophie Lloyd Band).The Hot Damn! aus Marlow, Buckinghamshire, mögen es laut, aber sie machen nicht nur mit ihrer Musik auf sich aufmerksam, sondern auch auf ein Thema, das ihnen am Herzen liegt - den Gehörschutz. Da die Band erkannt hat, wie wichtig die Gesundheit des Gehörs sowohl für das Publikum als auch für die Musiker ist, hat sie sich dazu verpflichtet, bei all ihren Konzerten Einweg-Ohrstöpsel anzubieten. Neben einzelnen Headline-Gigs reisen The Hot Damn! im November 2024 als Support von D-A-D durch Deutschland um ihr hart rockendes Werk zu präsentieren. CD mit zwei Akustik-Bonustracks, LP als Sunshine Yellow Vinyl!

”Dieses Album ist nur ein kleiner Teil der riesigen Menge an unveröffentlichtem Material, das wir hoffentlich in naher Zukunft veröffentlichen werden, anstatt es in irgendeinem Archiv verstauben zu lassen.
Die Bigband-Stücke wurden 2014 aufgenommen, die Duette erst kürzlich. Chris White und Paul Moran
haben die Songs, für die sie neue Bandarrangements machen wollten, individuell ausgewählt. Die Stücke
von Willie Nelson und Kurt Elling wurden 2018 und 2019 aufgenommen, die von Curtis Stigers und Joss
Stone 2018.” (Van Morrison)
Van Morrison, zu gleichen Teilen blauäugiger Soul-Shouter und wildblütiger Poet-Zauberer, gehört zu
den wahren Erneuerern der populären Musik, ein rastlos Suchender, dessen beschwörender Gesang und alchemistische Verschmelzung von R&B, Jazz, Blues und keltischem Folk das vielleicht spirituellste Werk im
Rock & Roll-Kanon hervorgebracht hat. Seine Aufnahmen, die nur den Launen seiner eigenen Muse unterworfen sind, decken ein außerordentliches stilistisches Terrain ab und bewahren dennoch eine Konsistenz und
Reinheit, die unter seinen Zeitgenossen praktisch unerreicht ist. Sie sind verbunden durch die mythische
Kraft seiner einzigartigen musikalischen Vision und seines feurigen Gesangs: spiralförmige Wiederholungen von Wehklagen und Flüstern, die die Grenzen der Sprache umgehen, um emotionale Wahrheiten zu
artikulieren, die weit über den Rahmen der wörtlichen Bedeutung hinausgehen.

”Dieses Album ist nur ein kleiner Teil der riesigen Menge an unveröffentlichtem Material, das wir hoffentlich in naher Zukunft veröffentlichen werden, anstatt es in irgendeinem Archiv verstauben zu lassen.
Die Bigband-Stücke wurden 2014 aufgenommen, die Duette erst kürzlich. Chris White und Paul Moran
haben die Songs, für die sie neue Bandarrangements machen wollten, individuell ausgewählt. Die Stücke
von Willie Nelson und Kurt Elling wurden 2018 und 2019 aufgenommen, die von Curtis Stigers und Joss
Stone 2018.” (Van Morrison)
Van Morrison, zu gleichen Teilen blauäugiger Soul-Shouter und wildblütiger Poet-Zauberer, gehört zu
den wahren Erneuerern der populären Musik, ein rastlos Suchender, dessen beschwörender Gesang und alchemistische Verschmelzung von R&B, Jazz, Blues und keltischem Folk das vielleicht spirituellste Werk im
Rock & Roll-Kanon hervorgebracht hat. Seine Aufnahmen, die nur den Launen seiner eigenen Muse unterworfen sind, decken ein außerordentliches stilistisches Terrain ab und bewahren dennoch eine Konsistenz und
Reinheit, die unter seinen Zeitgenossen praktisch unerreicht ist. Sie sind verbunden durch die mythische
Kraft seiner einzigartigen musikalischen Vision und seines feurigen Gesangs: spiralförmige Wiederholungen von Wehklagen und Flüstern, die die Grenzen der Sprache umgehen, um emotionale Wahrheiten zu
artikulieren, die weit über den Rahmen der wörtlichen Bedeutung hinausgehen.

Hiroshi Watanabe, a musician, photographer, and DJ from the Japanese electronic scene, based in Saitama near Tokyo, has been a prolific figure for twenty-five years. He has explored most major genres of electronic music through more than twenty albums. He proudly becomes the very first Japanese artist of InFiné.

After Ryuichi Sakamoto, he is one of the very few Japanese artists who have gained the favor of Western audiences, alongside notable names such as Cornelius, Towa Tei, DJ Krush, Ken Ishii, Susumu Yokota, and more recently Hiroshi Yoshimura. In Europe, he is best known for his project Kaito, which began in 2001 under the prestigious Kompakt label. The name Kaito, in addition to being the name of his son born the same year, carries a double meaning in Japanese, signifying both "universe" and "secret." These references hint at a spirituality visible in his photographic work and contribute to the elements that make Japanese artists masters of the ambient genre.

The collaboration between Kaito and the InFiné label began with his participation in the compilation "Music Activists 2020 (From Home)," which supported artists affected by the Covid crisis, followed by a remix for the single "Motion" by Rone and Vanessa Wagner in 2023. These initial contributions led to a new album featuring nine tracks of ambient music.

Kaito's new album ‘Collection’ comprises nine ambient and melodic tracks composed during the Covid-19 pandemic. These compositions present a majestic minimal and harmonious therapy in response to the world’s adversities, showcasing the producer’s return to the peak of his art. ‘Collection’ was remastered by another genre legend, the German Rashad Becker, and released on vinyl and CD by InFiné in 2024.

“I am OBSESSED with the 80s. I love the loud neon colours and fashion and the kinetic energy of the music. It’s uplifting and bittersweet with a ton of keyboards, what’s not to like?” reasons Morgane when asked what it is she likes about the decade. This exuberance is brightly reflected in the mirror ball synthpop of her third album released at the end of September. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label.

Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup (her favourite) and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. “They gave me 40 songs to learn, it was a baptism of fire”.

After leaving Stereolab, Morgane first moved to New York for nine years; she’d always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album’s thumping heart is pumped by the city’s night sky and when asked she cites three particular albums as her favourites: the oddball analogue electro of Jacno’s 1979 debut; John Carpenter’s ‘Escape From New York’ and The B-52’s ‘Cosmic Thing’. There’s also a strong nod to the playful computerised harmonies of Yellow Magic Orchestra whilst she’s somewhat partial to the synth prog of Yes and Soft Machine. “I actually created a synth on Ableton Live named after Rick Wakeman’. I should create one after Mike Ratledge next!”

Throughout her work (but especially on this record) you can hear the influence of computer games. “I’m an avid gamer and have been one since I was a teenager and fell in love with my Commodore 64”. Though not a fan of Hotline Miami or the GTA series (“too violent”) she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. “I just got the soundtrack reissue from Data Disc and it is beautiful” she enthuses.

You’ll see and hear such influences on the lead single from the album ‘Midnite Rogue’ the video to which pays (im)perfect juddering homage to such arcade culture. Car tyres glued to sticky tarmac, French pop music lost in the air. The title was inspired by a Fighting Fantasy book which she adored as a kid. “I love the idea of this entity causing mischief during night time”, she beams. It’s not hard to see why.

Off the back of ""electrifying"" (Rolling Stone) performances across Australia's premier festivals throughout summer, proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman & multi-award-winning Naarm/Melbourne-via-lutriwita/Tasmania artist MISS KANINNA is thrilled to announce her internationally-anticipated debut EP KANINNA, out 20 September via Soul Has No Tempo.

Spanning hip-hop, rap, R&B and pop with touches of Amapiano, Afrobeats and Middle Eastern influences, the EP features her latest single 'Push Up', plus ""the left-right goodnight"" (triple j) combo of her debut 2023 singles 'Blak Britney' & 'Pinnacle Bitch' which spurred her meteoric rise with far-ranging support from Apple Radio 1, BBC Radio 6, KEXP, KCRW and triple j, who crowned her with the J Award for Unearthed Artist of the Year 2023.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

Cool Calm Pete has been featured in the past with MF Doom, RJD2, El-P, Morcheeba, Sharon Jones & The Dap-Kings, Aesop Rock, and others. More recently with Kool Keith, Real Bad Man, Heems, and Lee Scott.
Lost (Director’s Cut) kicks off Petes return with some new projects on deck.
Sometimes it takes time for something to establish its proper place in culture, and the modern-day discourse never fails to rush to label an album to be a classic or a flop. Then there are albums like Cool Calm Pete’s “LOST.” Adored by its dedicated fan base upon its original release in 2005 on Embedded Records and Definitive Jux, this record has continued to garner attention over the years from those who are familiar with it. While word-of-mouth alone may not have been sufficient to propel the album to mainstream success, its enduring popularity two decades later is a testament to its well-deserved recognition as an indie rap cult classic. The Korean-American emcee born as Pete Chung wasn’t asking to be a pioneer but having been raised in Queens NY during the golden era of hip hop, rhyming better than his peers just naturally became his identity. Throughout his debut album, his slow-paced, conversational flow fit like a glove to the self-produced “working class” beats that color most of the album. His education in fine arts as a painter and his day-job with a then-burgeoning lifestyle brand called Supreme sometimes took precedence in his professional life, but his dedication to the craft as a hip hop artist was evident, and fans took notice. The album hasn’t been re-released since its initial 2005 drop. and vinyl copies haven’t sold on the collectors’ market for less than $100 in years. With its first official re-release, the laws of supply-and-demand will surely alter that market, and chances are that with more ears to hear the album, those original pressings will only become hotter. In the meantime, the new “LOST (Director’s Cut)” has been re-mastered and extended for release on Cool Calm Pete’s own label Bubble Wife Records, with never-before-heard cuts led by a remix of the title track by Blockhead. Find it.

September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."

September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."

“Big City Blues” is the title of the new – fifth – album by the Antwerp band Handkerchief , which will be released on September 27. As the title suggests, the big city now plays a more central role in the band's world. This results in a harder rocking sound, more guitars, but
still the bluesy feeling with a steamy horn section and the rough voice of Christof Annaert, which also sounds like he has single-handedly cleared every dark alley in the big city of every possible scum.

Their latest albums “Mutiny Ballads & Fishguarding Songs” and “Ghosts of this Town” were particularly well received by the press and fans. Singles such as “They Drive by Night”, “Human Sense” and “Lucky Day” were regularly heard on national radio: including Willy,
Radio 1… and the band played dozens of shows in Belgium and the Netherlands. This fall the band will go on tour to present the new album.

Confirmed feature article in Electronic Sound Magazine and other media. “There’s A Rhinoceros In The Mega Church” is their debut LP released on Sound Records. U.S.E. (also often expressed as Unicorn Ship Explosion, but feel free to interpret this yourself), are unfortunately two boys known to their mums as Rob & Sash. Since we last saw Rob he has been working really hard as a multi-instrumentalist. He’s almost mastered the drums (he’s even been to jazz school), and he’s near to the final chapter of piano lessons. He’s really talented. He has his own music studio where he produces & writes music for the likes of, The Staves, Holysseus Fly & other fantastic acts that are well worth a listen if you have the time. Sash (or Sasha) is a great guy. Everyone loves working with him. He’s an average musician with big ideas, which is why he uses modular synths. He has written much music for many artists you’ve probably not heard of and has collaborated with some musicians you’ve definitely heard of. He sometimes works as a sound designer for some fashion brands you can’t afford, but you wouldn’t want to wear them anyway (so don’t feel bad for not being successful enough to spend £400 on a t-shirt). Sometimes a really cool woman called, Agnieszka Szczotka, collaborates with these two loveable boys. She is a performance artist of great skill. She studied art at the Royal Academy and chose to abandon her supreme painting and sculpture skills to dedicate her life to confrontational live performance art. Big respect. Together they are Unicorn Ship Explosion (not yet known as U.S.E. as it hasn’t caught on yet). It’s a creative attempt to be in the present and not overwork music as is often the norm these days.As a result an exciting new genre is emerging from this album. The genre hasn’t a name yet, but what is certain is that A.I. can’t recreate it, and wouldn’t want to either. Let’s be human together and accept and appreciate we can’t always be great. Enjoy the good moments with the bad. And together, yes together, you the reader and us(e) your new best friends, shall show A.I. that humanity is beautiful.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

This record is the first complete collaboration between Lefteris Volanis and Dimitris Pagidas who along with Vasilis Dokakis have formed the trio No Clear Mind over the past 15 years.

“Outside the long walls” is a musical creation whose canvas is filled primarily with a mix of electronic and guitar, organic synthesizer sound, saxophone, electric pianos bound together with drums and percussion, xylophone along with intervening soundscapes. There is a deeply melodic work with a strict sonic and timbre aesthetics that reference the new wave and post-punk outsiders, folk, progressive, space rock and world music for the past decade interspersed with tributes to the soundtracks of the 60s and 70s European cinema.

The band use both Greek and English lyrics interchangeably since the vocals are simply a means of achieving aural magic.

Recorded in Epidaurus between March 2020 until September 2023
Mastered by Richard König
Vinyl Master by Ekelon
Cover photo by Eftichia Vlachou
Artwork by Giorgos Maraziotis

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

From the very first listen to Bingo paradis, the perfect antithesis of Ultra Dramatic Kid, his previous album, the melodic evidence and the catchy choruses jump out at you. As on the unreleased single Athènes/Petit soldat (2021), released between his two albums, Muddy Monk reconnects with his melodic instincts and instantly finds the right tempo on Arpailles, a suave instrumental with an unstoppable spin that immediately gives him the colour of the record still in the making. As usual, the musician accumulates machines and samplers in his home studio to develop a sound palette that is readily organic.

Muddy Monk's impressive career has been built up in his native Switzerland, far from the hustle and bustle of Paris, and he has always collaborated with a wide range of artists (Ichon, Jimmy Whoo, Myth Syzer, Ruby Red). Now, with Italian Giorgio Poi, he has found a new sidekick for a bilingual duet in the form of a summer hit: Tic Tac. And there's no shortage of hits (Chaki Queen, Toujours t'avoir) on this album of cocagne. Accompanied here and there by keyboardist Paul Prier (Christine and the Queens, Charlotte Gainsbourg), Muddy Monk has pulled off a brilliant hat-trick, adding yet another masterpiece to his exemplary discography.

Tahiti 80, the cult French group, is back with a tenth album entitled Hello Hello.

Since their formation in Rouen in the 90s, Tahiti 80 have built a substantial discography, collaborating with artists such as Cornelius, Tore Johansson, Adam Schlesinger and Richard Swift. The indie pop quintet offers us today twelve irresistible and captivating songs on a solar tenth album. With its welcoming title, Hello Hello presents itself as a desire to merge the spontaneity of live performances with the chemistry of a band working in the studio. Xavier Boyer, lead singer and songwriter, explains: “We felt a slight frustration with our previous album, Here With You, released in 2022. The pandemic had forced us to record separately at home. When we realized our new demos were going in this live direction, we looked for the perfect place to capture that spirit."

It is at the Paraphernalia studio, located in the French countryside, that the members of Tahiti 80, including in addition to the singer, Pedro Resende, Médéric Gontier, Raphaël Léger and Hadrien Grange, perfected their musical interactions for ten days during the summer 2023. Integrated very early in the process, Stéphane Laporte, aka Domotic, brought his distinctive experimental touch to the arrangements and production. The vocals and additional synthesizers were then finalized between Paris, Rouen and Montpellier in the fall

The twelve songs that make up Hello Hello form a homogeneous suite, highlighting the creativity, diversity and maturity of a group which has just celebrated twenty-five years of career. Opening the album, “Every Little Thing” subtly mixes shoegaze guitars and synth pop. It’s also one of the rare Tahiti 80 tracks that keeps the same chords from start to finish. The singer confides: “It was an exercise in minimalism, with the constraint of finding varied vocal melodies revolving around the same chords. Singing the line ‘I Love Every Little Thing About Us’ made me realize that it could also be about us as a group.” The title song also plays the simplicity card with Boyer’s unique timbre, complemented by a drum machine passed through a tape echo and a catchy recorder theme – proof that years of practice of this instrument in French schools was not in vain!

The other distinctive trend is Brazilian: “Lose My Head”, “Soft Echo” or “Poison Flower” each display tropicalist attributes: swaying rhythms, rounded bass, soft guitars, all enhanced by a reverberated sound treatment. “From Caetano Veloso to Tim Bernardes, there is a unique way,” notes the vocalist, “of linking rhythm and melody that has always inspired us.”

However, the Tahiti 80 touch is not being put aside. “About Us”, sung by guitarist Médéric Gontier who can also be heard on “1+1” and “Anyway”, marks a return to the roots of indie pop. An impression confirmed by the hit “Vertigo” and its signature all in major sevenths supported by the elastic groove of bassist Pedro Resende. The song which sounds like a quick return trip between late 70s California and Tokyo City Pop, will find its place after “Crush!” and “Heartbeat” in the Rouennais’ songbook. Xavier Boyer concludes: “ if we manage to surprise ourselves, it will also work for the listener. but when you reach the tenth album, you must also manage to renew ourselves without denying ourselves what we did previously.”

With their innovative and unique approach to indie pop, their timeless melodies and their sophisticated productions, Tahiti 80 has never ceased to resonate with fans around the world. Their latest collection, Hello Hello, should easily consolidate their status as a singular group and esteemed personalities on the international music scene.